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 Burundi and from Halifax.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Delhi 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 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 Letta Mbulu to the punk 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 La Düsseldorf. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Marmalade,
Sunsets and Hearts,
Model 500,
Harry Pussy,
The Martian,
Steve Hackett,
New Age Steppers,
Crispian St. Peters,
Section 25,
The Mighty Diamonds,
Black Pus,
Ohio Players,
Crime,
Dorothy Ashby,
KRS-One,
Black Moon,
Sound Behaviour,
Bill Wells,
The Shadows of Knight,
Amon Düül,
Yusef Lateef,
Interpol,
Selector Dub Narcotic,
China Crisis,
Boogie Down Productions,
Camouflage,
Michelle Simonal,
Camron Feat. Memphis Bleek And Beenie Seigel,
Accadde A,
Nas,
Pagans,
The Fortunes,
Main Source,
Bobbi Humphrey,
Roy Ayers Ubiquity,
Eli Mardock,
The Sisters of Mercy,
Suicide,
Anakelly,
The Dead C,
The Modern Lovers,
The Index,
Marc Almond,
These Immortal Souls,
Lower 48,
Joyce Sims,
Quando Quango,
Unwound,
Godley & Creme,
Swell Maps,
The Names,
Piero Umiliani,
Nico,
Jerry's Kids,
Kaleidoscope,
X-101,
The Cure,
The Fall,
Eyeless In Gaza,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.