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 New Zealand and from Lagos.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Thee Headcoats to the jazz kids.
I played it at the Roxy.
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 Alarm Clocks. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Andrew Hill,
Al Stewart,
Motorama,
Rakim,
Rotary Connection,
Terrestrial Tones,
Country Joe & The Fish,
Chris & Cosey,
Mark Hollis,
The Martian,
The Fire Engines,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
Deakin,
Thompson Twins,
Richard Hell and the Voidoids,
Monks,
The Monochrome Set,
Cybotron,
The Count Five,
Yusef Lateef,
Amazonics,
Hashim,
Bizarre Inc.,
Joyce Sims,
Kauko Röyhkä ja Narttu,
Spoonie Gee,
The J.B.'s,
Joe Smooth,
Stereo Dub,
Throbbing Gristle,
Faust,
It's A Beautiful Day,
Boredoms,
Notorious Big And Bone Thugs,
Jeff Lynne,
Pere Ubu,
Bang on a Can All-Stars,
Idris Muhammad,
Lungfish,
Maleditus Sound,
The Durutti Column,
Smog,
Gil Scott-Heron and Jamie xx,
New York Dolls,
cv313,
Donny Hathaway,
Masters at Work,
kango's stein massive,
Little Man,
Quantec,
Cameo,
Juan Atkins,
Michelle Simonal,
Stetsasonic,
Essential Logic,
Ralphi Rosario,
The Names,
the Fania All-Stars,
Joe Finger,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.