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 Comoros and from Accra.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Delhi and Philadelphia.
I'm losing my edge to the art-school New York 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 guitar 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 Pylon to the rock kids.
I played it at the Crocodile.
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 June Days. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal rap 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
New York Dolls,
Lee Hazlewood,
Ludus,
Hasil Adkins,
Oneida,
Jacob Miller,
Ultramagnetic MC's,
Eli Mardock,
The Jesus and Mary Chain,
Unwound,
Piero Umiliani,
Joensuu 1685,
Smog,
Charles Mingus,
Selector Dub Narcotic,
Saccharine Trust,
Bob Dylan,
Jerry Gold Smith,
Art Ensemble Of Chicago,
Eric Dolphy,
Kenny Larkin,
It's A Beautiful Day,
Mad Mike,
Inner City,
Wighnomy Brothers & Robag Wruhme,
Massinfluence,
Steve Hackett,
Arcadia,
Cybotron,
Captain Beefheart & His Magic Band,
T. Rex,
Eddi Front,
Orchestral Manoeuvres in the Dark,
Groovy Waters,
Ohio Players,
The Moleskins,
Nils Olav,
Judy Mowatt,
Sad Lovers and Giants,
KRS-One,
Bill Near,
Metal Thangz,
Mars,
Bill Wells,
B.T. Express,
Gregory Isaacs,
Fela Kuti,
Whodini,
Gong,
Avey Tare's Slasher Flicks,
Bush Tetras,
Flash Fearless,
Hashim,
The Last Poets,
Eden Ahbez,
Oppenheimer Analysis,
The Invisible,
World's Most,
Con Funk Shun,
Angry Samoans,
The Seeds,
Thinking Fellers Union Local 282,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.