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 Georgia and from Beijing.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Accra 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 Captain Beefheart 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 London Community Gospel Choir to the punk kids.
I played it at Cafe Wha.
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 Cluster. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Camron Feat. Jay Z And Juelz,
The Walker Brothers,
The West Coast Pop Art Experimental Band,
Althea and Donna,
Rahsaan Roland Kirk,
Lee Hazlewood,
Junior Murvin,
Jeff Lynne,
Schoolly D,
MC5,
Roy Ayers Ubiquity,
Lebanon Hanover,
Infiniti,
Marcia Griffiths,
Faraquet,
Marc Almond,
Model 500,
Marshall Jefferson,
The Victims,
Bill Near,
MDC,
Sound Behaviour,
Charles Mingus,
E-Dancer,
Quantec,
Mary Jane Girls,
The Durutti Column,
Mr. Review,
Kings Of Tomorrow,
the Human League,
Yaz,
Max Romeo,
Steve Hackett,
Arab on Radar,
Animal Collective,
Fluxion,
the Sonics,
Rod Modell,
The Techniques,
The Seeds,
Dawn Penn,
Marmalade,
The Monochrome Set,
Brand Nubian,
Unwound,
Vainqueur,
Byron Stingily,
Pharaoh Sanders and the Fire Engines,
The Music Machine,
Cecil Taylor,
Scan 7,
Buzzcocks,
Big Daddy Kane,
Mantronix,
Todd Rundgren,
Lalo Schifrin,
New York Dolls,
Y Pants,
The Human League,
Subhumans, Subhumans, Subhumans, Subhumans.
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.