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 Norway and from Halifax.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 ABBA 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 The Mighty Diamonds. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal rap 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 a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Fatback Band,
The Vogues,
Suburban Knight,
Banda Bassotti,
Susan Cadogan,
Masters at Work,
Smog,
Jandek,
Oppenheimer Analysis,
Eric Copeland,
Pere Ubu,
T.S.O.L.,
John Foxx,
Dual Sessions,
Hardrive,
Lonnie Liston Smith,
KRS-One,
Eli Mardock,
Joe Finger,
Jacques Brel,
Little Man,
Das Ding,
X-101,
Kaleidoscope,
The Sonics,
The Walker Brothers,
Kayak,
Sällskapet,
Blancmange,
Hot Snakes,
Frankie Knuckles,
Jimmy McGriff,
Nico,
Sarah Menescal,
Andrew Hill,
Kings Of Tomorrow,
Amon Düül II,
Nation of Ulysses,
Section 25,
Kenny Larkin,
Connie Case,
Crime,
Echo & the Bunnymen,
Clear Light,
Idris Muhammad,
Leonard Cohen,
Gregory Isaacs,
Bang On A Can,
Kango’s Stein Massive,
Captain Beefheart & His Magic Band,
The Count Five,
Gang of Four,
Severed Heads,
Lalo Schifrin,
Marmalade,
Lower 48,
Bronski Beat,
Panda Bear,
Crash Course in Science,
The Toasters,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.