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 Vietnam and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Brass Construction to the crunk 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 Kool Moe Dee. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Dirtbombs 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Ronnie Foster,
Byron Stingily,
Massinfluence,
Ice-T,
Amon Düül,
The Mummies,
Johnny Clarke,
Marc Almond,
ABBA,
Marvin Gaye,
The Dirtbombs,
Donny Hathaway,
CMW,
Joe Smooth,
Jacob Miller,
Aswad,
Ultra Naté,
Rekid,
Joyce Sims,
The Last Poets,
Harpers Bizarre,
Los Fastidios,
Alphaville,
Yusef Lateef,
The Fuzztones,
Clear Light,
Audionom,
Wolf Eyes,
The Royal Family And The Poor,
The Divine Comedy,
Saccharine Trust,
Simply Red,
Nick Cave & The Bad Seeds,
Ajijia Myrayebe,
Sugar Minott,
The Walker Brothers,
Warren Ellis,
Reuben Wilson,
the Germs,
The Standells,
Throbbing Gristle,
Mr. Review,
Marc Romboy vs. Booka Shade,
Albert Ayler,
Terrestrial Tones,
Khruangbin,
Crime,
Barry Ungar,
These Immortal Souls,
The West Coast Pop Art Experimental Band,
Mandrill,
Gregory Isaacs,
Judy Mowatt,
R.M.O.,
Eden Ahbez,
The Motions,
Visage,
Major Organ And The Adding Machine,
Glenn Branca,
The Men They Couldn't Hang,
Leonard Cohen,
Joe Finger,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.