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 Comoros and from Jakarta.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Stiv Bators to the funk kids.
I played it at the Hacienda.
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 U.S. Maple. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Bauhaus,
This Heat,
Gil Scott-Heron & Brian Jackson,
Loose Ends,
The Golliwogs,
The Stooges,
Lou Christie,
Goldenarms,
Fort Wilson Riot,
a-ha,
World's Most,
The Names,
Colin Newman,
Crash Course in Science,
Scientists,
Sonic Youth,
Heavy D & The Boyz,
Youth Brigade,
Chris Corsano,
Maleditus Sound,
The Zeros,
Maurizio,
Pulsallama,
Jacob Miller,
Delta 5,
Bobby Sherman,
Alton Ellis,
Patti Smith,
Sex Pistols,
Lou Reed & John Cale,
Pierre Henry,
Negative Approach,
The Count Five,
D'Angelo,
Sight & Sound,
The Five Americans,
The Selecter,
Alison Limerick,
The Pop Group,
Louis and Bebe Barron,
Jeff Mills,
Todd Rundgren,
Sly & The Family Stone,
Gabor Szabo,
X-102,
Barbara Tucker,
The Skatalites,
Notorious BIG live in Amsterdam,
Vainqueur,
Michelle Simonal,
Grey Daturas,
Black Flag,
Mad Mike,
Don Cherry,
Marc Romboy vs. Booka Shade,
Crispy Ambulance,
Pere Ubu,
These Immortal Souls,
Cecil Taylor,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.