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 the UAE and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Delhi 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 chamberlin 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 Isaac Hayes to the electroclash kids.
I played it at the Roxy.
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 Barry Ungar. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The Fortunes 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Justin Hinds & The Dominoes,
Delon & Dalcan,
Scrapy,
It's A Beautiful Day,
Icehouse,
Eric B and Rakim,
Dorothy Ashby,
The Leaves,
Drive Like Jehu,
Terror Squad Feat. Camron,
EPMD,
Duran Duran,
Tim Buckley,
Thee Headcoats,
Pharoah Sanders,
Cabaret Voltaire,
Saccharine Trust,
Deadbeat,
The Techniques,
Babytalk,
Rufus Thomas,
Schoolly D,
Letta Mbulu,
Spandau Ballet,
Roy Ayers,
Arcadia,
Kerri Chandler,
Y Pants,
Bang On A Can,
F. McDonald,
Desert Stars,
Lalo Schifrin,
Eric Copeland,
The United States of America,
Cymande,
Bill Wells,
Barrington Levy,
Ronnie Foster,
The Sonics,
Bobbi Humphrey,
Steve Hackett,
Todd Rundgren,
Soft Cell,
8 Eyed Spy,
Al Stewart,
Theoretical Girls,
Radio Birdman,
Can,
Pantytec,
Massinfluence,
The Neon Judgement,
The Alarm Clocks,
Glenn Branca,
The Seeds,
Rhythim Is Rhythim,
Unwound,
The Black Dice,
Robert Hood,
Peter Gordon & Love of Life Orchestra,
Kool Moe Dee,
Q65,
Whodini, Whodini, Whodini, Whodini.
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.