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 Slovakia and from Seoul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Bologna and Madrid.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Deadbeat to the rap kids.
I played it at the 40 Watt.
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 Albert Ayler. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Aural Exciters 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Rhythim Is Rhythim,
EPMD,
Kurtis Blow,
Nation of Ulysses,
June Days,
Thee Headcoats,
Pantaleimon,
Country Joe & The Fish,
World's Most,
Mission of Burma,
T. Rex,
Gastr Del Sol,
the Normal,
Deepchord,
Roxette,
Lou Reed & Metallica,
The Fall,
The Music Machine,
Gang Starr,
The Slits,
Iggy Pop,
The Residents,
Pagans,
Khruangbin,
Pharoah Sanders,
Ronnie Foster,
Von Mondo,
The Cure,
Albert Ayler,
Shuggie Otis,
Faust,
Marvin Gaye,
Soulsonic Force,
Arab on Radar,
The Happenings,
Cymande,
Michelle Simonal,
Derrick Morgan,
Hot Snakes,
DeepChord presents Echospace,
Connie Case,
JFA,
Al Stewart,
Saccharine Trust,
Mad Mike,
Gichy Dan,
Lightning Bolt,
Boogie Down Productions,
Chrome,
Steve Hackett,
the Sonics,
Alison Limerick,
Groovy Waters,
F. McDonald,
Beasts of Bourbon,
Tropical Tobacco,
Aural Exciters,
Althea and Donna,
Pole,
Echo & the Bunnymen,
Moss Icon,
The Wake,
The American Breed, The American Breed, The American Breed, The American Breed.
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.