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 Czech Republic and from Sao Paulo.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Scion to the jazz kids.
I played it at the Hacienda.
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 Bill Near. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Cheater Slicks 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Kerri Chandler,
Jacob Miller,
Schoolly D,
Soft Cell,
The Index,
Sun Ra Arkestra,
Ultramagnetic MC's,
Scientists,
Wings,
Letta Mbulu,
The Selecter,
Jeff Lynne,
Talk Talk,
Röyhkä ja Rättö ja Lehtisalo,
the Germs,
Crispian St. Peters,
Quadrant,
Country Teasers,
The Flesh Eaters,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
Banda Bassotti,
Mark Hollis,
Teenage Jesus and the Jerks,
Pierre Henry,
Second Layer,
Morten Harket,
Sight & Sound,
Pharoah Sanders,
Anthony Braxton,
Marc Almond,
Black Sheep,
Chris Corsano,
Jerry's Kids,
The United States of America,
Khruangbin,
Todd Rundgren,
Mr. Review,
Dr. Dre and Snoop Doggy Dog,
Sparks,
the Association,
The Fugs,
Scratch Acid,
Curtis Mayfield,
Essential Logic,
The Dave Clark Five,
Scrapy,
KRS-One,
The Star Department,
Bobby Hutcherson,
The Gladiators,
Sun City Girls,
Brothers Johnson,
Liaisons Dangereuses,
Peter and Kerry,
Alton Ellis,
Make Up,
The Tremeloes,
Desert Stars,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.