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 Solomon Islands and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Jakarta 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Aswad 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 James White and The Blacks. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal dance 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Interpol,
Mo-Dettes,
Funky Four + One,
Wally Richardson,
U.S. Maple,
Matthew Halsall,
Nation of Ulysses,
OOIOO,
Intrusion,
Susan Cadogan,
Nils Olav,
Con Funk Shun,
Excepter,
Moss Icon,
Guru Guru,
Hasil Adkins,
Magazine,
Swell Maps,
Stockholm Monsters,
Gong,
Ralphi Rosario,
Mars,
Section 25,
World's Most,
The Busters,
Japan,
DJ Sneak,
Marc Almond,
X-101,
Gregory Isaacs,
Derrick May,
Kauko Röyhkä ja Narttu,
Scion,
Moby Grape,
Babytalk,
The Neon Judgement,
Ituana,
Joy Division,
It's A Beautiful Day,
The Gap Band,
Juan Atkins,
Eve St. Jones,
Ultramagnetic MC's,
The Human League,
Wighnomy Brothers & Robag Wruhme,
Kango’s Stein Massive,
Chrome,
Fela Kuti,
Los Fastidios,
Icehouse,
The Sisters of Mercy,
The Knickerbockers,
Scientists,
T. Rex,
Aural Exciters,
Pharaoh Sanders and the Fire Engines,
Vladislav Delay,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.