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 Zambia and from Toronto.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Scott Walker to the grime kids.
I played it at Trash.
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 Jeff Lynne. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Jimmy McGriff 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Skaos,
Stereo Dub,
Derrick Morgan,
Jeff Lynne,
48th St. Collective,
Reagan Youth,
Yellowson,
Graham Central Station,
Prince Buster,
Fatback Band,
Hasil Adkins,
Eli Mardock,
Drive Like Jehu,
Half Japanese,
The Alarm Clocks,
Kerrie Biddell,
Gil Scott-Heron and Jamie xx,
Amon Düül,
Freddie Wadling,
John Foxx,
X-Ray Spex,
Avey Tare's Slasher Flicks,
The Evens,
Sugar Minott,
The Count Five,
Kevin Saunderson,
Nas,
Godley & Creme,
Nation of Ulysses,
Susan Cadogan,
Warren Ellis,
Little Man,
Boogie Down Productions,
Gang of Four,
Brand Nubian,
Charles Mingus,
Oneida,
Avey Tare & Kría Brekkan,
The Motions,
Bill Near,
Main Source,
The Residents,
Agent Orange,
Sunsets and Hearts,
Ohio Players,
Buzzcocks,
Thee Headcoats,
Mary Jane Girls,
Tubeway Army,
Isaac Hayes,
The Trojans,
Harpers Bizarre,
Chrome,
Scott Walker,
Jeff Mills,
Simply Red,
Grauzone,
The Music Machine,
Cal Tjader,
Grey Daturas,
Curtis Mayfield,
Pole,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.