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 Azerbaijan and from Lille.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Paris 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 organ 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 Bad Manners to the rap 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 Soft Machine. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Lou Reed & John Cale,
Metal Thangz,
Unrelated Segments,
Pulsallama,
John Coltrane,
F. McDonald,
The Moleskins,
La Düsseldorf,
Blake Baxter,
Mark Hollis,
The Slits,
Susan Cadogan,
Ohio Players,
John Holt,
Skarface,
Alphaville,
Accadde A,
Andrew Ashong & Theo Parrish,
Tropical Tobacco,
Selector Dub Narcotic,
Sly & The Family Stone,
Peter and Kerry,
Sam Rivers,
Grandmaster Flash,
Electric Prunes,
The Count Five,
Major Organ And The Adding Machine,
Radio Birdman,
Cameo,
Morten Harket,
Sixth Finger,
Half Japanese,
Essential Logic,
Warsaw,
Liliput,
The Trojans,
The Busters,
Adolescents,
Swans,
Kurtis Blow,
Rosa Yemen,
Underground Resistance,
Donald Byrd,
The Fall,
Justin Hinds & The Dominoes,
Surgeon,
Scan 7,
Leonard Cohen,
Marshall Jefferson,
Captain Beefheart & His Magic Band,
Pussy Galore,
Wasted Youth,
Minny Pops,
The West Coast Pop Art Experimental Band,
David Axelrod,
Bob Dylan,
World's Most,
The Chocolate Watch Band,
Parry Music,
The Move, The Move, The Move, The Move.
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.