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 Sri Lanka and from Jakarta.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school New York 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 marimba 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 The Real Kids to the jazz kids.
I played it at the Spitz.
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 Monolake. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
James White and The Blacks,
Mark Hollis,
B.T. Express,
The Knickerbockers,
Gil Scott-Heron and Jamie xx,
OOIOO,
Jeff Lynne,
KRS-One,
June of 44,
The Fortunes,
Donald Byrd,
Andrew Hill,
Black Pus,
The Royal Family And The Poor,
The Shadows of Knight,
Sun City Girls,
Peter and Kerry,
Fifty Foot Hose,
Bootsy Collins,
Ludus,
Gary Puckett & The Union Gap,
Terry Callier,
Marine Girls,
Moss Icon,
The Sound,
Freddie Wadling,
Jerry's Kids,
World's Most,
Sad Lovers and Giants,
Lalo Schifrin,
Inner City,
Porter Ricks,
Quadrant,
Minutemen,
Connie Case,
Lou Reed & Metallica,
Isaac Hayes,
The Stooges,
Piero Umiliani,
The Cure,
Judy Mowatt,
Youth Brigade,
Man Eating Sloth,
Public Enemy,
Kool G Rap & DJ Polo,
Grauzone,
John Lydon,
Kenny Larkin,
Lindisfarne,
AZ,
Half Japanese,
the Germs,
Graham Central Station,
John Holt,
Subhumans,
Shuggie Otis,
Matthew Halsall,
X-102,
Lower 48, Lower 48, Lower 48, Lower 48.
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.