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 Venezuela and from Lille.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Toronto 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 organ 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 Johnny Clarke to the crunk kids.
I played it at Trash.
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 Evens. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Circle Jerks,
Niagra,
Lakeside,
Letta Mbulu,
Tom Boy,
Aswad,
Jimmy McGriff,
T. Rex,
Jesper Dahlbäck,
Matthew Halsall,
Absolute Body Control,
E-Dancer,
Ludus,
Alice Coltrane,
Thompson Twins,
Supertramp,
Man Eating Sloth,
Tres Demented,
Röyhkä ja Rättö ja Lehtisalo,
Mars,
Oblivians,
Ralphi Rosario,
The Gap Band,
Laurel Aitken,
Andrew Hill,
The Grass Roots,
The Blues Magoos,
Half Japanese,
Rekid,
Moebius,
Piero Umiliani,
Von Mondo,
Gang Green,
Sly & The Family Stone,
Morten Harket,
Big Daddy Kane,
Crispy Ambulance,
Althea and Donna,
Fela Kuti,
Tommy Roe,
Urselle,
Au Pairs,
The Walker Brothers,
These Immortal Souls,
Unrelated Segments,
The Count Five,
John Lydon,
Shuggie Otis,
Sandy B,
Robert Wyatt,
the Swans,
Richard Hell and the Voidoids,
The Velvet Underground,
Captain Beefheart & His Magic Band,
Flash Fearless,
Sugar Minott,
Ronnie Foster,
John Cale,
Porter Ricks,
Avey Tare's Slasher Flicks,
Technova,
Brothers Johnson,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.