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 Ghana and from Portland.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school London 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 theremin 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 Barrington Levy to the grime kids.
I played it at the Spitz.
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 Camberwell Now. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
FM Einheit,
The Flesh Eaters,
Jerry's Kids,
Vainqueur,
Lindisfarne,
Charles Mingus,
Tom Boy,
Girls At Our Best!,
Notorious Big And Bone Thugs,
Heavy D & The Boyz,
Lebanon Hanover,
B.T. Express,
Adolescents,
kango's stein massive,
Q and Not U,
Ash Ra Tempel,
The Music Machine,
Los Fastidios,
The Men They Couldn't Hang,
EPMD,
Heaven 17,
The Misunderstood,
DNA,
Radio Birdman,
ABBA,
Japan,
Ronnie Foster,
Connie Case,
Delta 5,
Don Cherry,
Eve St. Jones,
U.S. Maple,
Dark Day,
Man Parrish,
The Invisible,
The Litter,
Lakeside,
Lower 48,
The Real Kids,
The American Breed,
Silicon Teens,
Drive Like Jehu,
Unwound,
The Dead C,
Banda Bassotti,
Ituana,
Dorothy Ashby,
Boogie Down Productions,
Quando Quango,
Graham Central Station,
Warsaw,
Anthony Braxton,
The Evens,
Basic Channel,
Red Lorry Yellow Lorry,
Public Enemy,
Sarah Menescal,
Reuben Wilson,
Can, Can, Can, Can.
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.