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 Somalia and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Manila 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 snare sounds with much patience.
I was there when Lou Reed 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 Pylon to the electroclash 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 Agent Orange. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Hashim,
Kool Moe Dee,
Spandau Ballet,
The Names,
Minny Pops,
Marmalade,
Procol Harum,
Leonard Cohen,
Sonny Sharrock,
Darondo,
Eddi Front,
Sarah Menescal,
The Mighty Diamonds,
Byron Stingily,
Mark Hollis,
The Slackers,
Dawn Penn,
One Last Wish,
Lalann,
Chrome,
Hoover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Mummies,
The Tremeloes,
Underground Resistance,
DeepChord presents Echospace,
Grauzone,
Pere Ubu,
Lou Reed & Metallica,
London Community Gospel Choir,
China Crisis,
Siouxsie and the Banshees,
Oneida,
The Doors,
Scion,
Angels of Light & Akron/Family,
The Dirtbombs,
the Germs,
Aswad,
Major Organ And The Adding Machine,
Kango’s Stein Massive,
Fort Wilson Riot,
The Cosmic Jokers,
The J.B.'s,
Louis and Bebe Barron,
The Blues Magoos,
Sugar Minott,
Dave Gahan,
Con Funk Shun,
Dead Boys,
Connie Case,
kango's stein massive,
Severed Heads,
Aloha Tigers,
Wasted Youth,
The West Coast Pop Art Experimental Band,
Half Japanese,
Letta Mbulu,
The Durutti Column,
Steve Hackett,
Scan 7, Scan 7, Scan 7, Scan 7.
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.