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 Jamaica and from Madrid.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Calgary 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Max Romeo to the crunk kids.
I played it at the Troubador.
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 Radiopuhelimet. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Tommy Roe,
Alison Limerick,
Freddie Wadling,
The Smoke,
Eurythmics,
Camberwell Now,
Derrick Morgan,
Khruangbin,
Deakin,
Black Flag,
Anthony Braxton,
The West Coast Pop Art Experimental Band,
Qualms,
Captain Beefheart & His Magic Band,
Japan,
Neil Young,
Bobby Womack,
Brand Nubian,
Sad Lovers and Giants,
Fluxion,
Audionom,
Model 500,
Dorothy Ashby,
Faust,
The Fall,
Gang Green,
Sun Ra Arkestra,
MDC,
Ultravox,
Kool G Rap & DJ Polo,
Lalann,
Unrelated Segments,
Popol Vuh,
Jimmy McGriff,
Bizarre Inc.,
Sound Behaviour,
Massinfluence,
Fela Kuti,
Joy Division,
The Shadows of Knight,
Eyeless In Gaza,
Ituana,
Minor Threat,
Stockholm Monsters,
Whodini,
Jeru the Damaja,
The Last Poets,
The Real Kids,
Symarip,
Lakeside,
Erasure,
Terry Callier,
The Cowsills,
Sonic Youth,
Rosa Yemen,
Technova,
X-102,
Eli Mardock,
Delon & Dalcan,
Nick Fraelich,
Kango’s Stein Massive,
Ice-T,
The Associates,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.