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 Congo and from Mexico City.
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 1971.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Skaos to the punk kids.
I played it at the 40 Watt.
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 Glambeats Corp.. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Rakim,
Roxy Music,
Crispian St. Peters,
Vainqueur,
Danielle Patucci,
The Cosmic Jokers,
Ponytail,
Ken Boothe,
Soft Cell,
Kool Moe Dee,
Pantytec,
Grey Daturas,
Archie Shepp,
Simply Red,
Anakelly,
Kaleidoscope,
Shoche,
The Fortunes,
The Names,
Flamin' Groovies,
The Count Five,
New York Dolls,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
the Soft Cell,
Deepchord,
Wings,
Lyres,
Soulsonic Force,
Ludus,
Alice Coltrane,
Scan 7,
Clear Light,
John Cale,
Yellowson,
Slick Rick,
The Dirtbombs,
Crime,
the Swans,
John Holt,
48th St. Collective,
Oblivians,
Lou Christie,
Altered Images,
Sight & Sound,
Essential Logic,
Symarip,
Terrestrial Tones,
Pagans,
Jacob Miller,
Scientists,
Al Stewart,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rotary Connection,
Brand Nubian,
Strawberry Alarm Clock,
China Crisis,
Minnie Riperton,
Albert Ayler,
Drexciya,
Isaac Hayes,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.