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 Dominican Republic and from Lagos.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Ohio Players to the jazz kids.
I played it at the 40 Watt.
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 Archie Shepp. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Camron Feat. Memphis Bleek And Beenie Seigel,
Art Ensemble Of Chicago,
Girls At Our Best!,
Harmonia,
Japan,
Bobby Hutcherson,
June Days,
Sun City Girls,
Sight & Sound,
Ultimate Spinach,
In Retrospect,
Bill Wells,
The Alarm Clocks,
Yellowson,
Deakin,
Bizarre Inc.,
Y Pants,
Colin Newman,
Glambeats Corp.,
The Zeros,
Scratch Acid,
Vainqueur,
Larry & the Blue Notes,
Public Image Ltd.,
Joy Division,
Roy Ayers,
Rapeman,
Ludus,
Bauhaus,
Sly & The Family Stone,
Slave,
Connie Case,
U.S. Maple,
The Gories,
Ornette Coleman,
Organ,
Tubeway Army,
Oneida,
Surgeon,
The Tremeloes,
Rhythim Is Rhythim,
Electric Prunes,
Drive Like Jehu,
Barclay James Harvest,
New York Dolls,
Godley & Creme,
Faust,
Derrick May,
Hasil Adkins,
De La Soul & Jungle Brothers,
The Wake,
Bush Tetras,
Black Moon,
OOIOO,
Eyeless In Gaza,
Vladislav Delay,
Chris Corsano,
Babytalk,
Toni Rubio,
the Normal,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.