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 Gambia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Salvador 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Bizarre Inc. to the techno 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 Anthony Braxton. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Bill Near 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Harry Pussy,
Selector Dub Narcotic,
Robert Wyatt,
Man Parrish,
Bad Manners,
Sällskapet,
Lakeside,
the Bar-Kays,
Quadrant,
Reuben Wilson,
John Coltrane,
Quantec,
Fear,
B.T. Express,
Swell Maps,
Cluster,
Mr. Review,
Thompson Twins,
The Smoke,
Clear Light,
Barrington Levy,
Essential Logic,
Patti Smith,
Index,
Angry Samoans,
Rahsaan Roland Kirk,
Nation of Ulysses,
Moss Icon,
Kas Product,
Sarah Menescal,
Niagra,
Sister Nancy,
Ornette Coleman,
Wings,
Wire,
Popol Vuh,
Yazoo,
Depeche Mode,
Ronnie Foster,
Pole,
Delta 5,
Faust,
Radiopuhelimet,
D'Angelo,
Sun City Girls,
The Misunderstood,
Liaisons Dangereuses,
Bootsy Collins,
Soul Sonic Force,
Derrick May,
Cabaret Voltaire,
The Litter,
Half Japanese,
Black Flag,
Bluetip,
Peter & Gordon,
The Invisible,
Marc Romboy vs. Booka Shade,
Eyeless In Gaza,
H. Thieme,
The Fall,
The Walker Brothers,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.