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 El Salvador and from Lagos.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Salvador and Salvador.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Groovy Waters to the disco 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 L. Decosne. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every John Coltrane 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Deepchord,
Slave,
Pere Ubu,
Mandrill,
Cymande,
The Mummies,
Arcadia,
Graham Central Station,
Royal Trux,
The Pop Group,
The Gladiators,
Kayak,
Q65,
Public Image Ltd.,
Magma,
Terrestrial Tones,
Derrick Morgan,
The Flesh Eaters,
Teenage Jesus and the Jerks,
Bang on a Can All-Stars,
Ultramagnetic MC's,
Pierre Henry,
Franke,
Grey Daturas,
Tears for Fears,
The Velvet Underground,
Monolake,
PIL,
Liliput,
The Move,
London Community Gospel Choir,
X-102,
Röyhkä ja Rättö ja Lehtisalo,
The Toasters,
The Young Rascals,
Arthur Verocai,
The Barracudas,
Alice Coltrane,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Spoonie Gee,
DeepChord presents Echospace,
The Fire Engines,
Amon Düül II,
Sunsets and Hearts,
Eve St. Jones,
Vaughan Mason & Crew,
Godley & Creme,
OOIOO,
Spandau Ballet,
Mr. Review,
The Sound,
Kaleidoscope,
Ultravox,
Ornette Coleman,
Heavy D & The Boyz,
U.S. Maple,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
Black Flag,
The Last Poets,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.