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 Angola and from Glasgow.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Nico to the techno kids.
I played it at the Troubador.
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 One Last Wish. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
John Holt,
Roy Ayers,
The Alarm Clocks,
Dorothy Ashby,
The Men They Couldn't Hang,
Guru Guru,
Black Flag,
Josef K,
Ice-T,
Ornette Coleman,
Arab on Radar,
Wighnomy Brothers & Robag Wruhme,
Jimmy McGriff,
Masters at Work,
Ajijia Myrayebe,
Lonnie Liston Smith,
Eddi Front,
Rapeman,
DJ Style,
Bill Wells,
Sarah Menescal,
Lindisfarne,
Japan,
Moby Grape,
Average White Band,
Grey Daturas,
Justin Hinds & The Dominoes,
Soft Cell,
Andrew Ashong & Theo Parrish,
The Vogues,
Tomorrow,
X-101,
The Music Machine,
Kool Moe Dee,
Be Bop Deluxe,
Rites of Spring,
Avey Tare,
Nils Olav,
Rhythm & Sound,
Minutemen,
Y Pants,
Heaven 17,
Model 500,
June Days,
Ultimate Spinach,
Camouflage,
Steve Hackett,
The Modern Lovers,
Faraquet,
Gil Scott Heron,
John Cale,
Popol Vuh,
Gang Starr,
Bang on a Can All-Stars,
The West Coast Pop Art Experimental Band,
The Selecter,
ABC,
Ultramagnetic MC's,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.