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 Palau 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 1962 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Rufus Thomas to the dance kids.
I played it at the Troubador.
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 London Community Gospel Choir. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Swell Maps,
The Last Poets,
Rufus Thomas,
The Sound,
Sandy B,
The Evens,
Darondo,
Ohio Players,
DeepChord presents Echospace,
Arcadia,
Dark Day,
Maleditus Sound,
The Alarm Clocks,
Peter and Kerry,
Joe Finger,
Warsaw,
U.S. Maple,
Warren Ellis,
Negative Approach,
Boz Scaggs,
Excepter,
The Moleskins,
The Fuzztones,
Nirvana,
Unrelated Segments,
Sexual Harrassment,
Vladislav Delay,
Ponytail,
Gil Scott Heron,
Susan Cadogan,
The New Christs,
Anakelly,
Isaac Hayes,
Delon & Dalcan,
The Knickerbockers,
Notorious BIG live in Amsterdam,
Suburban Knight,
Beasts of Bourbon,
Magazine,
Brand Nubian,
Kango’s Stein Massive,
Subhumans,
Massinfluence,
Al Stewart,
Grey Daturas,
Animal Collective,
Symarip,
Panda Bear,
Stereo Dub,
Archie Shepp,
Marvin Gaye,
Lou Christie,
Mark Hollis,
Crime,
Lindisfarne,
Barrington Levy,
Jandek,
The Red Krayola,
John Cale,
Black Sheep,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.