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 Egypt and from Hong Kong.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Tokyo 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 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 Intrusion to the funk 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 Yellowson. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Make Up,
Sunsets and Hearts,
E-Dancer,
Sexual Harrassment,
Q and Not U,
Curtis Mayfield,
Royal Trux,
Sonny Sharrock,
Pere Ubu,
Tim Buckley,
John Lydon,
Thee Headcoats,
Kool G Rap & DJ Polo,
Delon & Dalcan,
Echospace,
Marshall Jefferson,
Masters at Work,
The Sound,
Second Layer,
China Crisis,
Lou Reed,
Ultra Naté,
Mark Hollis,
The Black Dice,
Minnie Riperton,
Nils Olav,
Hashim,
Isaac Hayes,
Nirvana,
X-101,
Altered Images,
Barclay James Harvest,
Oblivians,
Hardrive,
8 Eyed Spy,
a-ha,
Scott Walker,
The Modern Lovers,
Ajijia Myrayebe,
Outsiders,
Bang on a Can All-Stars,
Brass Construction,
Howard Jones,
A Flock of Seagulls,
The Last Poets,
The Move,
The Fortunes,
Pulsallama,
Deepchord,
Selector Dub Narcotic,
Albert Ayler,
Crash Course in Science,
Bobby Hutcherson,
48th St. Collective,
D'Angelo,
New Order,
Eric Dolphy,
The Raincoats,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.