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 Guinea-Bissau and from London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 Moby Grape 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 the Normal. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Interpol,
Minny Pops,
Animal Collective,
The Techniques,
Accadde A,
Pet Shop Boys,
Eric B and Rakim,
The Evens,
The Mojo Men,
Amon Düül,
Liaisons Dangereuses,
Soft Machine,
John Cale,
Max Romeo,
Cecil Taylor,
Ash Ra Tempel,
Agent Orange,
Lucky Dragons,
Anakelly,
Negative Approach,
Thompson Twins,
Kevin Saunderson,
Donny Hathaway,
Ohio Players,
Gerry Rafferty,
Blake Baxter,
A Certain Ratio,
Q and Not U,
The Men They Couldn't Hang,
Bauhaus,
Pere Ubu,
Jerry's Kids,
Soft Cell,
Metal Thangz,
Scratch Acid,
Peter Gordon & Love of Life Orchestra,
The Martian,
Dawn Penn,
Terror Squad Feat. Camron,
Nation of Ulysses,
Model 500,
Alice Coltrane,
Flamin' Groovies,
Erykah Badu,
The Buckinghams,
Outsiders,
Surgeon,
Marc Almond,
Lou Reed & John Cale,
The Smoke,
Jesper Dahlback,
Bang on a Can All-Stars,
Piero Umiliani,
Tres Demented,
X-Ray Spex,
Jacob Miller,
Matthew Bourne,
Monolake,
The Fortunes,
KRS-One, KRS-One, KRS-One, KRS-One.
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.