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 Equatorial Guinea and from Madrid.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Accra 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 Holger Czukay 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 Connie Case to the punk kids.
I played it at Trash.
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 The Names. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Gabor Szabo 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Notorious Big And Bone Thugs,
Spandau Ballet,
Quantec,
Al Stewart,
The Kinks,
AZ,
Joy Division,
Grandmaster Flash,
Peter & Gordon,
Negative Approach,
Orchestral Manoeuvres in the Dark,
The Red Krayola,
Erykah Badu,
Minnie Riperton,
Newcleus,
Icehouse,
Toni Rubio,
Banda Bassotti,
Sexual Harrassment,
K-Klass,
H. Thieme,
Au Pairs,
Khruangbin,
Y Pants,
The Fugs,
The Durutti Column,
Rhythm & Sound,
Stockholm Monsters,
Big Daddy Kane,
Kurtis Blow,
Chrome,
Kevin Saunderson,
Moss Icon,
Blossom Toes,
X-101,
Quadrant,
Sun Ra,
Roy Ayers,
Rhythim Is Rhythim,
Radiopuhelimet,
Nirvana,
Nick Fraelich,
Lou Christie,
Sonny Sharrock,
Liaisons Dangereuses,
Zero Boys,
Funkadelic,
Glambeats Corp.,
The Pretty Things,
EPMD,
The Remains,
Grey Daturas,
Alison Limerick,
Lou Reed & John Cale,
Roy Ayers Ubiquity,
Franke,
Man Eating Sloth,
Heavy D & The Boyz,
Gil Scott-Heron and Jamie xx,
Moby Grape,
China Crisis,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.