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 Ireland and from Madrid.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Public Image Ltd. to the electroclash kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Stereo Dub,
Surgeon,
Marc Almond,
Lungfish,
Maurizio,
Charles Mingus,
The Vogues,
Lalo Schifrin,
Pulsallama,
Skarface,
Pharoah Sanders,
Grauzone,
Bobby Hutcherson,
Peter & Gordon,
Dead Boys,
Guru Guru,
the Bar-Kays,
Laurel Aitken,
Art Ensemble Of Chicago,
Lou Christie,
Hoover,
John Foxx,
Scratch Acid,
Bobby Byrd,
The Searchers,
Yazoo,
The Jesus and Mary Chain,
Joe Finger,
Nas,
Maleditus Sound,
Con Funk Shun,
Kool G Rap & DJ Polo,
Terry Callier,
Ludus,
The Music Machine,
Electric Light Orchestra,
Angry Samoans,
Swell Maps,
Pet Shop Boys,
Fat Boys,
Thompson Twins,
Whodini,
Ronan,
Deakin,
Scrapy,
DJ Style,
The Invisible,
The Index,
R.M.O.,
Royal Trux,
The Chocolate Watch Band,
Mission of Burma,
Ice-T,
The Golliwogs,
Zero Boys,
Talk Talk,
Peter and Kerry,
The Electric Prunes,
Heavy D & The Boyz,
Wolf Eyes,
Desert Stars,
The Young Rascals,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.