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 Chad and from Johannesburg.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Spokane 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 Soft Boys practice in a loft in Cambridge.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Masters at Work 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 Agent Orange. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Michelle Simonal 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Sound,
The Mighty Diamonds,
Spoonie Gee,
Roxy Music,
The West Coast Pop Art Experimental Band,
Bill Wells,
The Stooges,
Alphaville,
The Invisible,
Jerry's Kids,
The United States of America,
Scratch Acid,
Newcleus,
Matthew Halsall,
ABC,
Visage,
Rufus Thomas,
Chris Corsano,
These Immortal Souls,
Anakelly,
Morten Harket,
Goldenarms,
David Bowie,
This Heat,
The American Breed,
the Human League,
The Vogues,
Scientists,
Flash Fearless,
The Moleskins,
Quantec,
Bobbi Humphrey,
Public Image Ltd.,
The Names,
Notorious Big And Bone Thugs,
Bush Tetras,
Rhythm & Sound,
Thompson Twins,
Excepter,
The Peanut Butter Conspiracy,
T.S.O.L.,
Girls At Our Best!,
Bobby Hutcherson,
The Moody Blues,
Zero Boys,
Adolescents,
Ituana,
The Blackbyrds,
Cheater Slicks,
The Star Department,
Public Enemy,
PIL,
Thinking Fellers Union Local 282,
X-Ray Spex,
Eddi Front,
Bootsy Collins,
Inner City,
The Martian,
Electric Light Orchestra,
Maleditus Sound,
Yusef Lateef,
Infiniti,
Bob Dylan,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.