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 Suriname and from Spokane.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Milan and Delhi.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Sister Nancy to the rock kids.
I played it at Trash.
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 Sixth Finger. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Masters at Work,
Pete Rock & C.L. Smooth,
Panda Bear,
Andrew Ashong & Theo Parrish,
Gil Scott-Heron and Jamie xx,
Godley & Creme,
Bobby Sherman,
Camron Feat. Memphis Bleek And Beenie Seigel,
It's A Beautiful Day,
Gregory Isaacs,
Barrington Levy,
Ash Ra Tempel,
Amon Düül II,
Mary Jane Girls,
Bob Dylan,
Sexual Harrassment,
Graham Central Station,
The Mojo Men,
Average White Band,
Second Layer,
The Standells,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
Siglo XX,
Deakin,
The Fugs,
Accadde A,
Piero Umiliani,
Bill Wells,
Sun City Girls,
Peter & Gordon,
Fugazi,
Aswad,
Qualms,
Pantytec,
Hasil Adkins,
The Last Poets,
Animal Collective,
the Swans,
Ultra Naté,
The Golliwogs,
Thee Headcoats,
the Slits,
Manfred Mann's Earth Band,
the Association,
Main Source,
Sixth Finger,
Selector Dub Narcotic,
Colin Newman,
Vaughan Mason & Crew,
Cal Tjader,
Public Image Ltd.,
Camouflage,
Japan,
The Shadows of Knight,
Easy Going,
Mission of Burma,
H. Thieme,
Hardrive,
The Doors, The Doors, The Doors, The Doors.
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.