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 Saudi Arabia and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Copenhagen 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 Robert Palmer 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 The Remains to the electroclash kids.
I played it at CBGB's.
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 Colin Newman. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Johnny Osbourne 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Tommy Roe,
David McCallum,
John Coltrane,
cv313,
Lindisfarne,
Graham Central Station,
These Immortal Souls,
Avey Tare & Kría Brekkan,
Monks,
Alice Coltrane,
Ossler,
Infiniti,
Oppenheimer Analysis,
Parry Music,
Eli Mardock,
Con Funk Shun,
U.S. Maple,
Vladislav Delay,
Suicide,
Judy Mowatt,
Newcleus,
Bobbi Humphrey,
Dual Sessions,
Khruangbin,
The Misunderstood,
Quantec,
The Electric Prunes,
a-ha,
Sun Ra Arkestra,
Fatback Band,
Alphaville,
The Shadows of Knight,
Mantronix,
Rahsaan Roland Kirk,
The Moody Blues,
Magazine,
Man Eating Sloth,
Captain Beefheart & His Magic Band,
Soft Machine,
Sam Rivers,
Robert Görl,
The Martian,
The Slits,
Reuben Wilson,
Sad Lovers and Giants,
Tomorrow,
Scion,
The Monochrome Set,
Be Bop Deluxe,
Thompson Twins,
Arthur Verocai,
Massinfluence,
Scrapy,
Lizzy Mercier Descloux,
Zero Boys,
The Gladiators,
Second Layer,
Arcadia,
Lungfish,
The Five Americans,
Pantytec,
Japan, Japan, Japan, Japan.
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.