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 Niger and from Edmonton.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Delhi 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Moebius to the dance kids.
I played it at the Hacienda.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Gun Club 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Kerri Chandler,
Skarface,
Gang Green,
DJ Sneak,
Ultra Naté,
Fugazi,
The Smoke,
The Vogues,
Nico,
EPMD,
Wolf Eyes,
Interpol,
Amon Düül II,
The Doobie Brothers,
Hardrive,
The Cosmic Jokers,
Bizarre Inc.,
The Seeds,
The Stooges,
Bill Near,
The Shadows of Knight,
A Certain Ratio,
Agitation Free,
Aaron Thompson,
Model 500,
Babytalk,
Jerry's Kids,
Bush Tetras,
Soul Sonic Force,
Shuggie Otis,
Alison Limerick,
Sällskapet,
Amazonics,
Chris & Cosey,
The Buckinghams,
Ash Ra Tempel,
Bob Dylan,
Anakelly,
Nils Olav,
Todd Rundgren,
UT,
Mars,
Fat Boys,
Accadde A,
Kaleidoscope,
Lizzy Mercier Descloux,
Chrome,
The Misunderstood,
Oneida,
Slave,
T. Rex,
Pete Rock & C.L. Smooth,
Don Cherry,
Yusef Lateef,
Flash Fearless,
Fifty Foot Hose,
Reuben Wilson,
Susan Cadogan,
Masters at Work,
Lonnie Liston Smith,
Khruangbin,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.