Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Venezuela and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1978.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school Mexico City kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing the Association to the funk kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gary Puckett & The Union Gap. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Gap Band,
Larry & the Blue Notes,
Funkadelic,
Lyres,
Soft Machine,
Orchestral Manoeuvres in the Dark,
Second Layer,
Ponytail,
The Black Dice,
Silicon Teens,
The Neon Judgement,
Rod Modell,
Bad Manners,
Traffic Nightmare,
The Cosmic Jokers,
Strawberry Alarm Clock,
the Fania All-Stars,
Japan,
Fad Gadget,
Sun City Girls,
Tears for Fears,
The Detroit Cobras,
Roy Ayers,
Porter Ricks,
Susan Cadogan,
Flash Fearless,
The Modern Lovers,
The Monks,
Gichy Dan,
Marcia Griffiths,
Throbbing Gristle,
Max Romeo,
John Cale,
Crash Course in Science,
Barbara Tucker,
Piero Umiliani,
Selector Dub Narcotic,
Cybotron,
The Toasters,
The Pop Group,
Aswad,
Pole,
Terror Squad Feat. Camron,
Skarface,
Art Ensemble Of Chicago,
Yazoo,
Frankie Knuckles,
Y Pants,
Heaven 17,
Country Joe & The Fish,
Eddi Front,
Tropical Tobacco,
Kaleidoscope,
Fatback Band,
Albert Ayler,
Sam Rivers,
Louis and Bebe Barron,
Eric Copeland,
The Beau Brummels,
Hot Snakes,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.