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 United Kingdom and from Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Crispian St. Peters to the jazz kids.
I played it at the Spitz.
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 Harry Pussy. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Mo-Dettes 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 '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Roy Ayers,
K-Klass,
Das Ding,
Peter & Gordon,
New York Dolls,
Pole,
Banda Bassotti,
Livin' Joy,
James White and The Blacks,
Liliput,
Smog,
Deakin,
Robert Görl,
LL Cool J,
Jacques Brel,
Marcia Griffiths,
Gang of Four,
Rakim,
Junior Murvin,
Mary Jane Girls,
John Coltrane,
The Beau Brummels,
Rotary Connection,
La Düsseldorf,
James Chance & The Contortions,
Sad Lovers and Giants,
Quantec,
Young Marble Giants,
The Stooges,
Steve Hackett,
David McCallum,
A Flock of Seagulls,
Jesper Dahlback,
Toni Rubio,
Larry & the Blue Notes,
Section 25,
Warren Ellis,
Ornette Coleman,
Joey Negro,
Goldenarms,
CMW,
Lakeside,
Scratch Acid,
The Tremeloes,
London Community Gospel Choir,
The Doobie Brothers,
Hardrive,
Visionaries,LMNO, T- Love & Iriscience,
The Busters,
Jawbox,
Kurtis Blow,
Aloha Tigers,
Donny Hathaway,
The Detroit Cobras,
a-ha,
the Swans,
Idris Muhammad,
Eric Copeland,
The Motions,
Yusef Lateef,
Faust,
Ken Boothe,
Echo & the Bunnymen,
Darondo, Darondo, Darondo, Darondo.
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.