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 Vietnam and from Toronto.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Seoul and Manila.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Kerri Chandler to the disco 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 Roy Ayers Ubiquity. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every John Coltrane 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 '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
Maleditus Sound,
Maurizio,
Grauzone,
Half Japanese,
Colin Newman,
Al Stewart,
Absolute Body Control,
Henry Cow,
Buzzcocks,
Big Daddy Kane,
Jeff Mills,
Manfred Mann's Earth Band,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
Drexciya,
Angels of Light & Akron/Family,
Pierre Henry,
Lou Christie,
Tubeway Army,
Tommy Roe,
Traffic Nightmare,
Qualms,
The Young Rascals,
Babytalk,
Ludus,
Man Parrish,
Black Moon,
Dual Sessions,
Soul II Soul,
Archie Shepp,
Robert Wyatt,
Scientists,
Pete Rock & C.L. Smooth,
The Mummies,
the Fania All-Stars,
Harry Pussy,
The Techniques,
Bizarre Inc.,
Average White Band,
Crime,
The Real Kids,
Lakeside,
Lower 48,
Moby Grape,
Deutsch Amerikanische Freundschaft,
The Buckinghams,
The Dirtbombs,
the Slits,
Ultra Naté,
Louis and Bebe Barron,
Joensuu 1685,
Marc Almond,
Siglo XX,
Notorious BIG live in Amsterdam,
Oneida,
Metal Thangz,
Don Cherry,
Model 500,
The Blackbyrds,
The Detroit Cobras,
The Mighty Diamonds,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.