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 Mauritius and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Cairo 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 Second Layer practice in a loft in South London.
I was working on the spring reverb 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 The Fire Engines to the dance kids.
I played it at the 40 Watt.
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 The Real Kids. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
New Order,
Marmalade,
Gichy Dan,
Main Source,
Kayak,
Major Organ And The Adding Machine,
Motorama,
Accadde A,
Wolf Eyes,
Eve St. Jones,
The Beau Brummels,
Pete Rock & C.L. Smooth,
Flamin' Groovies,
Essential Logic,
Boz Scaggs,
Crispy Ambulance,
Harmonia,
Sugar Minott,
H. Thieme,
Liliput,
Livin' Joy,
Anthony Braxton,
Suburban Knight,
Clear Light,
Mr. Review,
Peter and Kerry,
Organ,
Notorious BIG live in Amsterdam,
Little Man,
Black Bananas,
Josef K,
Chris & Cosey,
The Vogues,
The Mummies,
Sad Lovers and Giants,
Fort Wilson Riot,
Erykah Badu,
Pagans,
Rotary Connection,
Bang on a Can All-Stars,
Richard Hell and the Voidoids,
Gil Scott Heron,
The Mighty Diamonds,
Cecil Taylor,
Donny Hathaway,
The Doobie Brothers,
Avey Tare & Kría Brekkan,
Sixth Finger,
Lucky Dragons,
Half Japanese,
Connie Case,
The Shadows of Knight,
The Pretty Things,
Masters at Work,
Reuben Wilson,
X-102,
Banda Bassotti,
the Swans,
Jeff Lynne,
Neil Young & Crazy Horse,
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.