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 Eritrea and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Milan 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 clarinet 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 Carl Craig to the jazz kids.
I played it at the Hacienda.
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 The Trojans. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott 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?
David Axelrod,
Royal Trux,
Main Source,
Khruangbin,
Derrick Morgan,
Rakim,
Cal Tjader,
Pierre Henry,
Audionom,
Smog,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Babytalk,
The Count Five,
Sam Rivers,
Vladislav Delay,
Moebius,
Young Marble Giants,
Althea and Donna,
Deadbeat,
The Jesus and Mary Chain,
Peter Gordon & Love of Life Orchestra,
Junior Murvin,
Pantaleimon,
The Mighty Diamonds,
LL Cool J,
Scott Walker,
Massinfluence,
Roxy Music,
Fort Wilson Riot,
Ultravox,
Joensuu 1685,
Monks,
Interpol,
Dawn Penn,
Mandrill,
Lakeside,
Judy Mowatt,
Teenage Jesus and the Jerks,
Dark Day,
Y Pants,
Dr. Dre and Snoop Doggy Dog,
Gastr Del Sol,
Black Flag,
Brick,
The Fugs,
Eric Copeland,
Lyres,
the Slits,
Sugar Minott,
Cheater Slicks,
Lee Hazlewood,
Strawberry Alarm Clock,
Richard Hell and the Voidoids,
Goldenarms,
Pharoah Sanders,
Soul II Soul,
Minnie Riperton,
Con Funk Shun,
Amazonics, Amazonics, Amazonics, Amazonics.
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.