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 Poland and from Milan.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Circle Jerks to the rap kids.
I played it at Cafe Wha.
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 Faraquet. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal disco 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Strawberry Alarm Clock,
the Soft Cell,
T.S.O.L.,
Jimmy McGriff,
MDC,
Eyeless In Gaza,
Bang On A Can,
London Community Gospel Choir,
Shuggie Otis,
Derrick May,
Marvin Gaye,
Excepter,
The Happenings,
Yaz,
EPMD,
Eddi Front,
Magma,
The Gories,
the Slits,
The Gap Band,
Kauko Röyhkä ja Narttu,
John Holt,
Nick Cave & The Bad Seeds,
Letta Mbulu,
Au Pairs,
Fad Gadget,
Suburban Knight,
Newcleus,
Terry Callier,
The Flesh Eaters,
Crispian St. Peters,
Andrew Hill,
The Cramps,
Rosa Yemen,
Mars,
Jawbox,
The Wake,
Black Moon,
Lou Reed & Metallica,
Los Fastidios,
Grey Daturas,
Avey Tare,
Thinking Fellers Union Local 282,
The Invisible,
The Star Department,
The Misunderstood,
Isaac Hayes,
Radiohead,
Country Joe & The Fish,
Gerry Rafferty,
Warren Ellis,
Jeff Mills,
ABC,
The Angels of Light,
De La Soul & Jungle Brothers,
Pole,
Flipper,
Boz Scaggs,
PIL,
The Doobie Brothers,
Scott Walker + Sunn O))),
Stetsasonic,
Mission of Burma,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.