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 China and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Notorious BIG live in Amsterdam to the disco kids.
I played it at the Roxy.
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 Bill Wells. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Brick 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Iggy Pop,
MC5,
Yazoo,
Japan,
Crash Course in Science,
Eric Copeland,
Rapeman,
Deutsch Amerikanische Freundschaft,
The Stooges,
Eurythmics,
Rod Modell,
Drive Like Jehu,
The Sound,
Sixth Finger,
The Red Krayola,
Deepchord,
Moss Icon,
The Dirtbombs,
John Coltrane,
The Happenings,
Mars,
Crooked Eye,
Grandmaster Flash and the Furious Five,
Make Up,
Fat Boys,
Dr. Dre and Snoop Doggy Dog,
Jacques Brel,
Barclay James Harvest,
R.M.O.,
John Lydon,
Pharoah Sanders,
Loose Ends,
H. Thieme,
Letta Mbulu,
F. McDonald,
Kings Of Tomorrow,
the Soft Cell,
The Royal Family And The Poor,
Soul II Soul,
Gil Scott-Heron & Brian Jackson,
The Gap Band,
Girls At Our Best!,
Ice-T,
Oppenheimer Analysis,
Babytalk,
ABC,
Wire,
Moebius,
Siglo XX,
The J.B.'s,
The Black Dice,
The Mojo Men,
Ronan,
Severed Heads,
The Wake,
The Standells,
FM Einheit,
The Move,
Todd Terry,
Bobby Byrd,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.