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 East Timor and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Sun Ra Arkestra to the jazz 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 Faraquet. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Royal Trux,
Gang of Four,
Pierre Henry,
Ken Boothe,
Larry & the Blue Notes,
Circle Jerks,
The Fortunes,
Bobbi Humphrey,
The Real Kids,
Saccharine Trust,
Curtis Mayfield,
The Blackbyrds,
The Techniques,
Manfred Mann's Earth Band,
Massinfluence,
Harry Pussy,
Soft Machine,
Sarah Menescal,
Das Ding,
Andrew Hill,
the Association,
Essential Logic,
Country Teasers,
Newcleus,
Clear Light,
The United States of America,
Ossler,
Kayak,
Sixth Finger,
The Pop Group,
Gastr Del Sol,
Loose Ends,
Unwound,
La Düsseldorf,
A Flock of Seagulls,
Zapp,
Minor Threat,
The Gladiators,
David McCallum,
the Human League,
Kango’s Stein Massive,
Camberwell Now,
the Slits,
Howard Jones,
Prince Buster,
Dead Boys,
Funkadelic,
Lakeside,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Inner City,
Man Parrish,
The Trojans,
Flash Fearless,
The Stooges,
Joey Negro,
Man Eating Sloth,
The Searchers,
Scott Walker,
The Invisible, The Invisible, The Invisible, The Invisible.
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.