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 Nauru and from Salvador.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Prince Buster to the punk kids.
I played it at the Crocodile.
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 Fluxion. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Rapeman,
Lou Christie,
Fort Wilson Riot,
Monolake,
The Moleskins,
Zapp,
Sun City Girls,
The Gap Band,
Ludus,
Easy Going,
Funky Four + One,
Sun Ra Arkestra,
X-102,
Ten City,
Jeff Lynne,
De La Soul & Jungle Brothers,
Robert Görl,
Babytalk,
Marcia Griffiths,
Mark Hollis,
Moss Icon,
Japan,
Black Moon,
Matthew Halsall,
Whodini,
The Mojo Men,
Ornette Coleman,
Banda Bassotti,
Major Organ And The Adding Machine,
The Electric Prunes,
Notorious Big And Bone Thugs,
The Seeds,
James Chance & The Contortions,
The Smiths,
Orchestral Manoeuvres in the Dark,
New York Dolls,
Roger Hodgson,
Cheater Slicks,
The United States of America,
Gregory Isaacs,
Steve Hackett,
Kings Of Tomorrow,
Avey Tare,
Radio Birdman,
Rowland S Howard / Lydia Lunch,
Harmonia,
Vaughan Mason & Crew,
Derrick Morgan,
Vladislav Delay,
Rites of Spring,
Black Flag,
Janne Schatter,
Outsiders,
The Stooges,
Organ,
Lungfish,
Jerry Gold Smith,
The Monks,
R.M.O.,
The Dead C,
Monks,
Eli Mardock,
KRS-One, KRS-One, KRS-One, KRS-One.
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.