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 Samoa and from London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Tehran 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 güiro 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 the Human League to the electroclash 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 De La Soul & Jungle Brothers. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Y Pants,
Con Funk Shun,
Lonnie Liston Smith,
Guru Guru,
PIL,
the Slits,
Avey Tare,
T.S.O.L.,
Pharoah Sanders,
Qualms,
Donny Hathaway,
Electric Light Orchestra,
Echospace,
Bush Tetras,
Blossom Toes,
Robert Görl,
Stereo Dub,
The Remains,
Flash Fearless,
Gerry Rafferty,
Kings Of Tomorrow,
Smog,
a-ha,
The Slits,
The Selecter,
Masters at Work,
Inner City,
Angels of Light & Akron/Family,
A Certain Ratio,
Pole,
Gil Scott-Heron and Jamie xx,
Terrestrial Tones,
LL Cool J,
48th St. Collective,
Sun City Girls,
Radiopuhelimet,
Fluxion,
Nils Olav,
Oblivians,
Kauko Röyhkä ja Narttu,
Matthew Halsall,
Brass Construction,
Selector Dub Narcotic,
E-Dancer,
Warsaw,
Bobbi Humphrey,
Soulsonic Force,
Lyres,
Pylon,
Heaven 17,
Whodini,
Vainqueur,
Roy Ayers Ubiquity,
Kerri Chandler,
Magma,
One Last Wish,
Jeff Mills,
The Associates,
Barry Ungar,
Royal Trux,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.