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 Costa Rica and from Milan.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Copenhagen 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 rhodes 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 Judy Mowatt to the rap kids.
I played it at the 40 Watt.
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 Agent Orange. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Soft Machine,
Fifty Foot Hose,
MC5,
New York Dolls,
Judy Mowatt,
Brick,
Livin' Joy,
ABC,
Urselle,
The Music Machine,
Stockholm Monsters,
Dr. Dre and Snoop Doggy Dog,
Lungfish,
Neu!,
Pantytec,
De La Soul & Jungle Brothers,
Pussy Galore,
Pylon,
New Order,
Godley & Creme,
Bob Dylan,
Vaughan Mason & Crew,
Jimmy McGriff,
Royal Trux,
Depeche Mode,
Derrick May,
Motorama,
The Index,
Arcadia,
Aloha Tigers,
Ultramagnetic MC's,
Ponytail,
Robert Görl,
Alison Limerick,
The Fugs,
Saccharine Trust,
the Sonics,
Gang of Four,
Pere Ubu,
Wings,
Bobby Sherman,
the Soft Cell,
Dual Sessions,
Archie Shepp,
The Last Poets,
Scott Walker + Sunn O))),
Gang Starr,
Neil Young,
Ludus,
Metal Thangz,
Barclay James Harvest,
Arthur Verocai,
The Golliwogs,
Lindisfarne,
Brand Nubian,
Glambeats Corp.,
Moss Icon,
The Jesus and Mary Chain,
Quando Quango,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.