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 Algeria and from Toronto.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Patti Smith to the disco 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 Radio Birdman. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Gregory Isaacs,
Delon & Dalcan,
Fatback Band,
Dark Day,
Mandrill,
Reuben Wilson,
Notorious Big And Bone Thugs,
Monolake,
Soul Sonic Force,
Sad Lovers and Giants,
The Five Americans,
Girls At Our Best!,
Be Bop Deluxe,
Schoolly D,
Bobby Hutcherson,
The Buckinghams,
Mad Mike,
David Bowie,
Television Personalities,
The Doors,
Godley & Creme,
Crispian St. Peters,
Livin' Joy,
Severed Heads,
Underground Resistance,
Massinfluence,
Jeru the Damaja,
James Chance & The Contortions,
Arcadia,
Colin Newman,
Moebius,
Heaven 17,
The Flesh Eaters,
Scrapy,
Davy DMX,
The Techniques,
Kenny Larkin,
Ultravox,
Camberwell Now,
Anakelly,
Jimmy McGriff,
the Human League,
Rhythm & Sound,
Soft Machine,
The Velvet Underground,
The West Coast Pop Art Experimental Band,
Red Lorry Yellow Lorry,
Wolf Eyes,
The Sound,
The Martian,
The Vogues,
Rapeman,
Barrington Levy,
Bootsy's Rubber Band,
Lalann,
Drive Like Jehu,
Chris & Cosey,
Glambeats Corp.,
Ornette Coleman,
Selector Dub Narcotic,
Faraquet,
Organ, Organ, Organ, Organ.
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.