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 Jamaica and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Salvador and Lyon.
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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Morten Harket to the grunge kids.
I played it at the Spitz.
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 DJ Sneak. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks 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?
Art Ensemble Of Chicago,
Ice-T,
Albert Ayler,
Ornette Coleman,
David Bowie,
Godley & Creme,
Bad Manners,
Deutsch Amerikanische Freundschaft,
Unwound,
the Fania All-Stars,
The Offenders,
The Toasters,
R.M.O.,
Glenn Branca,
The Selecter,
Jeff Mills,
Spoonie Gee,
Connie Case,
Mantronix,
Whodini,
The Residents,
FM Einheit,
Rhythm & Sound,
Ken Boothe,
Eyeless In Gaza,
Black Pus,
The Litter,
Cecil Taylor,
Kings Of Tomorrow,
Angry Samoans,
The Jesus and Mary Chain,
Loose Ends,
Aswad,
Carl Craig,
Organ,
The Blackbyrds,
Dead Boys,
The Saints,
Gang Gang Dance,
Joe Smooth,
Kango’s Stein Massive,
Siglo XX,
Selector Dub Narcotic,
Infiniti,
Icehouse,
Vaughan Mason & Crew,
Junior Murvin,
Patti Smith,
The Associates,
The Cowsills,
Adolescents,
The Neon Judgement,
Porter Ricks,
Kayak,
Man Parrish,
Sunsets and Hearts,
Bobby Womack,
Popol Vuh,
Anthony Braxton,
Ponytail,
Arthur Verocai,
Gary Puckett & The Union Gap,
Hoover,
Zero Boys,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.