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 Micronesia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 David Bowie 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 Fear to the rap kids.
I played it at the Astoria.
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 Peter and Kerry. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
The Red Krayola,
Cal Tjader,
Beasts of Bourbon,
Procol Harum,
Dorothy Ashby,
The Residents,
Soft Machine,
Erykah Badu,
Visionaries,LMNO, T- Love & Iriscience,
Dave Gahan,
Moss Icon,
Little Man,
Gang Starr,
One Last Wish,
Thee Headcoats,
Sexual Harrassment,
Arab on Radar,
Wasted Youth,
Unwound,
Kurtis Blow,
UT,
The Star Department,
The Flesh Eaters,
Lizzy Mercier Descloux,
Spandau Ballet,
K-Klass,
The Associates,
Kerri Chandler,
Aural Exciters,
The Dead C,
New Order,
The Angels of Light,
Rakim,
The Electric Prunes,
Boogie Down Productions,
Cheater Slicks,
Cluster,
Curtis Mayfield,
Pierre Henry,
Morten Harket,
Theoretical Girls,
Alton Ellis,
the Soft Cell,
Barry Ungar,
JFA,
The Shadows of Knight,
Soul II Soul,
DJ Sneak,
The United States of America,
Qualms,
The Gap Band,
The Happenings,
L. Decosne,
Jacques Brel,
Pagans,
The Raincoats,
the Normal,
Louis and Bebe Barron,
Thompson Twins,
Franke,
Skaos, Skaos, Skaos, Skaos.
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.