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 Belize and from Halifax.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Schoolly D to the techno kids.
I played it at Cafe Wha.
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 Robert Wyatt. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every The United States of America 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Lucky Dragons,
Barry Ungar,
Royal Trux,
Johnny Osbourne,
Nas,
The Moody Blues,
Siglo XX,
Kas Product,
Stereo Dub,
Bauhaus,
Lee Hazlewood,
The Monks,
Jacques Brel,
Suicide,
Bobby Womack,
London Community Gospel Choir,
Monks,
K-Klass,
Janne Schatter,
Circle Jerks,
48th St. Collective,
Sad Lovers and Giants,
The Modern Lovers,
Yusef Lateef,
Jimmy McGriff,
Magma,
Boz Scaggs,
Sticky Fingaz feat. Raekwon,
Groovy Waters,
New Order,
Bang on a Can All-Stars,
Marc Romboy vs. Booka Shade,
Visionaries,LMNO, T- Love & Iriscience,
Procol Harum,
The Detroit Cobras,
Eric Copeland,
Vladislav Delay,
The Standells,
The Men They Couldn't Hang,
Gil Scott Heron,
Eyeless In Gaza,
Lonnie Liston Smith,
Kool Moe Dee,
Rosa Yemen,
Buzzcocks,
Tim Buckley,
DNA,
Simply Red,
Eve St. Jones,
Kango’s Stein Massive,
The Evens,
FM Einheit,
Rapeman,
Sugar Minott,
UT,
The Cure,
Q and Not U,
Girls At Our Best!,
Barbara Tucker,
Sonny Sharrock,
Faraquet, Faraquet, Faraquet, Faraquet.
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.