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 Fiji and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Ten City to the rap 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 B.T. Express. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Little Man,
Art Ensemble Of Chicago,
Lebanon Hanover,
DeepChord presents Echospace,
Piero Umiliani,
Pole,
Lyres,
MC5,
Khruangbin,
Roger Hodgson,
E-Dancer,
a-ha,
Sight & Sound,
Aaron Thompson,
Flipper,
Steve Hackett,
The Peanut Butter Conspiracy,
Marshall Jefferson,
The Barracudas,
LL Cool J,
Big Daddy Kane,
The Searchers,
Nas,
Tears for Fears,
Tropical Tobacco,
The Birthday Party,
James White and The Blacks,
The Sisters of Mercy,
Popol Vuh,
Deepchord,
Robert Görl,
Matthew Halsall,
The Saints,
Television Personalities,
Wasted Youth,
Desert Stars,
Pantytec,
Boz Scaggs,
Rapeman,
Peter & Gordon,
The Toasters,
Rhythim Is Rhythim,
Junior Murvin,
Sound Behaviour,
Adolescents,
New York Dolls,
Drive Like Jehu,
Maleditus Sound,
Yaz,
Hashim,
Bobbi Humphrey,
Idris Muhammad,
Marmalade,
Sandy B,
The Associates,
Maurizio,
Erykah Badu,
The United States of America,
Brand Nubian,
Symarip,
Blake Baxter,
Marc Almond,
Gong, Gong, Gong, Gong.
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.