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 Dominica and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the rhodes 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 Cheater Slicks to the funk 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 Harry Pussy. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Roy Ayers 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Heavy D & The Boyz,
Guru Guru,
Ronan,
Bill Wells,
The Searchers,
Oneida,
Steve Hackett,
Marshall Jefferson,
Matthew Halsall,
Porter Ricks,
The Names,
Animal Collective,
Max Romeo,
Rod Modell,
Simply Red,
Das Ding,
Ossler,
Andrew Ashong & Theo Parrish,
Ash Ra Tempel,
Lee Hazlewood,
Faraquet,
Fugazi,
Nirvana,
The Gladiators,
Jesper Dahlback,
Sound Behaviour,
Surgeon,
ABBA,
Alice Coltrane,
Q and Not U,
8 Eyed Spy,
Mandrill,
World's Most,
Minny Pops,
Prince Buster,
Television Personalities,
Ten City,
Wasted Youth,
The Zeros,
Jandek,
The Leaves,
Lou Reed & John Cale,
Anthony Braxton,
Big Daddy Kane,
Blossom Toes,
The Busters,
Bang On A Can,
The Seeds,
Grauzone,
Thinking Fellers Union Local 282,
Erasure,
Camberwell Now,
Smog,
Archie Shepp,
Lungfish,
Moebius,
Schoolly D,
Robert Hood,
Q65,
Susan Cadogan,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.