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 Kazakhstan and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 One Last Wish 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 Dorothy Ashby. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Gerry Rafferty 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Can,
Bill Near,
Dave Gahan,
Rowland S Howard / Lydia Lunch,
Art Ensemble Of Chicago,
Graham Central Station,
The Velvet Underground,
Icehouse,
The Star Department,
Barclay James Harvest,
David Bowie,
Half Japanese,
Stereo Dub,
Magma,
Donald Byrd,
Kool Moe Dee,
Rufus Thomas,
the Sonics,
Mr. Review,
R.M.O.,
Sam Rivers,
Index,
EPMD,
Frankie Knuckles,
ABC,
AZ,
Grauzone,
Soft Machine,
the Fania All-Stars,
Mary Jane Girls,
Bizarre Inc.,
The Pop Group,
Idris Muhammad,
The Victims,
Wire,
Eric B and Rakim,
Camron Feat. Memphis Bleek And Beenie Seigel,
Simply Red,
Banda Bassotti,
The Fortunes,
Dead Boys,
Mark Hollis,
Ultimate Spinach,
Harpers Bizarre,
Sex Pistols,
MC5,
Amon Düül,
Kevin Saunderson,
Adolescents,
Minutemen,
Soft Cell,
Fifty Foot Hose,
The Raincoats,
Massinfluence,
Barbara Tucker,
John Holt,
Gil Scott Heron,
The Doobie Brothers,
Delta 5,
The Zeros,
The Music Machine,
Hardrive,
Liliput, Liliput, Liliput, Liliput.
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.