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 Singapore and from Manchester.
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 1964 to 1971.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Manila 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 Michael McDonald 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 The Tremeloes to the electroclash 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 The Cramps. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Traffic Nightmare,
Gian Franco Pienzio,
Q and Not U,
Roy Ayers Ubiquity,
The Jesus and Mary Chain,
Pussy Galore,
Grauzone,
Bobbi Humphrey,
the Sonics,
Chris Corsano,
Heavy D & The Boyz,
Frankie Knuckles,
Joe Finger,
Eric Dolphy,
Drexciya,
Eddi Front,
Model 500,
Visage,
Blake Baxter,
Little Man,
Jacob Miller,
Negative Approach,
Inner City,
The Skatalites,
Nirvana,
Von Mondo,
Kings Of Tomorrow,
Kango’s Stein Massive,
Idris Muhammad,
Bobby Hutcherson,
Mark Hollis,
Howard Jones,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rod Modell,
The Remains,
One Last Wish,
Organ,
Ralphi Rosario,
Rites of Spring,
Joy Division,
Siglo XX,
Bootsy's Rubber Band,
The Busters,
MC5,
Cabaret Voltaire,
Brass Construction,
cv313,
Freddie Wadling,
Jesper Dahlback,
Gang Gang Dance,
Orchestral Manoeuvres in the Dark,
The Velvet Underground,
Thinking Fellers Union Local 282,
Ten City,
The Star Department,
Boz Scaggs,
Pharoah Sanders,
Faust,
Whodini,
Don Cherry,
Kas Product, Kas Product, Kas Product, Kas Product.
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.