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 Niger and from Hong Kong.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Adolescents to the jazz kids.
I played it at the Troubador.
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 Mantronix. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Tim Buckley,
Con Funk Shun,
Harmonia,
The Doobie Brothers,
The Fuzztones,
Delta 5,
Lou Reed,
Marmalade,
Wings,
Shoche,
The Kinks,
Marshall Jefferson,
Ultra Naté,
The Skatalites,
The Cosmic Jokers,
Donny Hathaway,
Outsiders,
Darondo,
Lightning Bolt,
Yazoo,
A Flock of Seagulls,
Slave,
Pagans,
Warsaw,
Moby Grape,
Frankie Knuckles,
Black Sheep,
Supertramp,
Andrew Ashong & Theo Parrish,
Au Pairs,
Sonny Sharrock,
The Neon Judgement,
Negative Approach,
48th St. Collective,
The Searchers,
Michelle Simonal,
Nation of Ulysses,
Matthew Bourne,
Section 25,
Gil Scott Heron,
Kurtis Blow,
Sixth Finger,
Sly & The Family Stone,
The Detroit Cobras,
the Slits,
The Remains,
Country Joe & The Fish,
Rahsaan Roland Kirk,
Deutsch Amerikanische Freundschaft,
Boredoms,
Chris & Cosey,
Oppenheimer Analysis,
Robert Hood,
In Retrospect,
Drive Like Jehu,
Vaughan Mason & Crew,
June of 44,
The Angels of Light,
Jerry Gold Smith,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.