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 St Lucia and from Manila.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron 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 Man Parrish to the dance kids.
I played it at the Spitz.
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 Public Enemy. All the underground hits.
All Nico tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Max Romeo,
Ajijia Myrayebe,
Manfred Mann's Earth Band,
The Move,
The Victims,
Lower 48,
Joe Finger,
Lonnie Liston Smith,
Brand Nubian,
Piero Umiliani,
Animal Collective,
De La Soul & Jungle Brothers,
Lalo Schifrin,
EPMD,
Absolute Body Control,
Barbara Tucker,
Donny Hathaway,
Lindisfarne,
Toni Rubio,
Ultramagnetic MC's,
Eric Dolphy,
Index,
the Slits,
The Five Americans,
Rod Modell,
Mary Jane Girls,
Pylon,
Anakelly,
Teenage Jesus and the Jerks,
Black Sheep,
Tommy Roe,
The Fugs,
Mad Mike,
Joy Division,
John Coltrane,
Robert Hood,
Visage,
Urselle,
Larry & the Blue Notes,
Amon Düül,
Carl Craig,
Aural Exciters,
Drexciya,
Althea and Donna,
Johnny Clarke,
Ken Boothe,
Joensuu 1685,
Steve Hackett,
Lafayette Afro Rock Band,
Second Layer,
Whodini,
Heaven 17,
The Fall,
Skaos,
Danielle Patucci,
The Velvet Underground,
Soul Sonic Force,
Khruangbin,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.