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 Georgia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Swans to the grime 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 Ten City. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Associates 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Funkadelic,
Massinfluence,
48th St. Collective,
Jerry Gold Smith,
James White and The Blacks,
Eli Mardock,
Lonnie Liston Smith,
The Monks,
LL Cool J,
Letta Mbulu,
The Victims,
Grandmaster Flash and the Furious Five,
Tom Boy,
Don Cherry,
Gil Scott-Heron and Jamie xx,
Ornette Coleman,
The Dead C,
Nils Olav,
Rotary Connection,
Pere Ubu,
F. McDonald,
The Fall,
Tim Buckley,
Soulsonic Force,
A Certain Ratio,
Rhythm & Sound,
Camberwell Now,
Cameo,
Shuggie Otis,
Sam Rivers,
Nation of Ulysses,
Siouxsie and the Banshees,
Lucky Dragons,
Sonic Youth,
Jandek,
Nico,
Marc Romboy vs. Booka Shade,
Tres Demented,
Buzzcocks,
KRS-One,
Hasil Adkins,
Roger Hodgson,
Stockholm Monsters,
Brick,
Lafayette Afro Rock Band,
Sandy B,
Bobby Hutcherson,
The West Coast Pop Art Experimental Band,
Goldenarms,
Mad Mike,
Neil Young,
Gary Puckett & The Union Gap,
The Last Poets,
Bad Manners,
Lalo Schifrin,
E-Dancer,
China Crisis,
JFA,
Schoolly D,
D'Angelo,
Niagra, Niagra, Niagra, Niagra.
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.