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 Togo and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Edmonton 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Ronan to the jazz 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 Soul II Soul. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Marvin Gaye 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Outsiders,
Severed Heads,
Gil Scott-Heron and Jamie xx,
Neil Young & Crazy Horse,
Charles Mingus,
Skriet,
Marc Almond,
FM Einheit,
Susan Cadogan,
Graham Central Station,
Deutsch Amerikanische Freundschaft,
The Real Kids,
Moebius,
Darondo,
The Black Dice,
Television Personalities,
The Blues Magoos,
Gregory Isaacs,
Main Source,
Roger Hodgson,
Funkadelic,
Mission of Burma,
Barbara Tucker,
Joey Negro,
Japan,
Lalann,
Sister Nancy,
Gang Starr,
The Residents,
Qualms,
Royal Trux,
Marc Romboy vs. Booka Shade,
Mark Hollis,
ABC,
Moby Grape,
Marine Girls,
Fatback Band,
Chris & Cosey,
Das Ding,
David Axelrod,
Terry Callier,
Fort Wilson Riot,
Amon Düül II,
In Retrospect,
Oneida,
Lindisfarne,
Amazonics,
Sparks,
Bobby Sherman,
Hasil Adkins,
Barclay James Harvest,
Kool Moe Dee,
Todd Terry,
Shuggie Otis,
Gil Scott Heron,
Kenny Larkin,
Franke,
Wally Richardson,
The Raincoats,
Silicon Teens,
Marshall Jefferson,
Index,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.