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 Bangladesh and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school New York 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Flamin' Groovies to the grime kids.
I played it at the Hacienda.
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 Arthur Verocai. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Litter,
Toni Rubio,
Moby Grape,
Interpol,
Ash Ra Tempel,
Minor Threat,
Deutsch Amerikanische Freundschaft,
Ajijia Myrayebe,
Scion,
Amon Düül,
Oblivians,
Deakin,
Chris & Cosey,
The Star Department,
Scan 7,
Ponytail,
Half Japanese,
John Coltrane,
Inner City,
Major Organ And The Adding Machine,
Desert Stars,
Bush Tetras,
Essential Logic,
Neu!,
James White and The Blacks,
Rosa Yemen,
Bob Dylan,
F. McDonald,
PIL,
The Raincoats,
Aswad,
The Leaves,
De La Soul & Jungle Brothers,
Robert Görl,
Ten City,
Smog,
Cheater Slicks,
Agent Orange,
Thinking Fellers Union Local 282,
Neil Young,
The Moleskins,
Skriet,
The Toasters,
Gil Scott Heron,
The Searchers,
Delta 5,
The Mojo Men,
Marcia Griffiths,
Big Daddy Kane,
Niagra,
Spoonie Gee,
JFA,
Dorothy Ashby,
Franke,
The Residents,
The Durutti Column,
Angels of Light & Akron/Family,
Public Image Ltd.,
Gerry Rafferty,
Sparks,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.