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 Guinea and from Glasgow.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar 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 The Five Americans to the grunge 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 Albert Ayler. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal rap 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 Rekid record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
The Victims,
Rahsaan Roland Kirk,
Deakin,
Scott Walker + Sunn O))),
Kool G Rap & DJ Polo,
The Selecter,
James White and The Blacks,
Pole,
Fluxion,
Laurel Aitken,
Half Japanese,
These Immortal Souls,
Icehouse,
KRS-One,
The Jesus and Mary Chain,
De La Soul & Jungle Brothers,
Vainqueur,
Simply Red,
Faust,
Neil Young,
Cameo,
Grauzone,
Neu!,
London Community Gospel Choir,
Grandmaster Flash,
Liliput,
Altered Images,
Prince Buster,
The Standells,
Leonard Cohen,
Sparks,
Stereo Dub,
Kerrie Biddell,
John Cale,
The United States of America,
The Tremeloes,
Lalo Schifrin,
Mary Jane Girls,
Robert Görl,
Stiv Bators,
Scion,
Jacques Brel,
Iggy Pop,
Cecil Taylor,
Moby Grape,
Jacob Miller,
Pantaleimon,
David McCallum,
Yellowson,
Pantytec,
Eden Ahbez,
The Monochrome Set,
Subhumans,
Can,
Beasts of Bourbon,
Marine Girls,
Eddi Front,
Black Pus,
The West Coast Pop Art Experimental Band,
Lyres,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.