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 Guatemala and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Kurtis Blow to the funk 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 Dead Boys. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Pete Rock & C.L. Smooth,
The Gladiators,
The J.B.'s,
The Count Five,
Liliput,
Don Cherry,
Au Pairs,
Wally Richardson,
Cluster,
The Angels of Light,
Intrusion,
Nation of Ulysses,
Rahsaan Roland Kirk,
Echospace,
Bobby Sherman,
Fela Kuti,
T.S.O.L.,
De La Soul & Jungle Brothers,
Oppenheimer Analysis,
The Skatalites,
The Selecter,
Nico,
Darondo,
Ituana,
The Durutti Column,
Soul II Soul,
Bush Tetras,
Sandy B,
Fifty Foot Hose,
Unrelated Segments,
Alton Ellis,
The United States of America,
Theoretical Girls,
Marmalade,
James White and The Blacks,
The Names,
Marine Girls,
Rapeman,
Gabor Szabo,
Electric Light Orchestra,
The Divine Comedy,
Brand Nubian,
Aswad,
B.T. Express,
Altered Images,
The Neon Judgement,
Pharaoh Sanders and the Fire Engines,
Bill Wells,
LL Cool J,
Von Mondo,
Jeff Mills,
cv313,
Panda Bear,
Chrome,
Gil Scott Heron,
Desert Stars,
Justin Hinds & The Dominoes,
Pere Ubu,
Isaac Hayes,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.