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 Sao Paulo.
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 1979.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Halifax 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Ultra Naté 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 Mark Hollis. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Robert Hood,
Pagans,
The Victims,
Kenny Larkin,
Alice Coltrane,
Rufus Thomas,
Section 25,
Janne Schatter,
Camron Feat. Jay Z And Juelz,
the Fania All-Stars,
Sly & The Family Stone,
Darondo,
Siouxsie and the Banshees,
The Slits,
Piero Umiliani,
Schoolly D,
Gerry Rafferty,
David McCallum,
Crispy Ambulance,
Bobby Womack,
Aaron Thompson,
The Walker Brothers,
Alison Limerick,
Reuben Wilson,
The Doors,
CMW,
Bootsy Collins,
Scott Walker,
The Move,
Matthew Halsall,
Curtis Mayfield,
Kerri Chandler,
The Music Machine,
Kaleidoscope,
Traffic Nightmare,
The Mojo Men,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Arcadia,
Oneida,
Minnie Riperton,
MC5,
Marshall Jefferson,
Popol Vuh,
Chris Corsano,
Fatback Band,
Glambeats Corp.,
The Knickerbockers,
Rhythm & Sound,
The Peanut Butter Conspiracy,
Skaos,
Gabor Szabo,
Infiniti,
Arthur Verocai,
Basic Channel,
Toni Rubio,
Little Man,
AZ,
Sex Pistols,
Louis and Bebe Barron,
Stiv Bators,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.