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 Comoros and from Philadelphia.
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 1975.
I'm losing my edge.
To all the kids in Paris and London.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Girls At Our Best! to the crunk kids.
I played it at the Roxy.
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 Davy DMX. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Johnny Osbourne,
Tropical Tobacco,
Sarah Menescal,
The Mummies,
Marvin Gaye,
John Foxx,
Darondo,
Peter and Kerry,
Ornette Coleman,
Bush Tetras,
Man Parrish,
Parry Music,
Gong,
Gil Scott-Heron & Brian Jackson,
Larry & the Blue Notes,
La Düsseldorf,
Robert Görl,
Kango’s Stein Massive,
Echo & the Bunnymen,
Lee Hazlewood,
The Black Dice,
Soul II Soul,
The Monks,
Clear Light,
Alice Coltrane,
Andrew Ashong & Theo Parrish,
Zero Boys,
Sällskapet,
The Happenings,
Jerry's Kids,
Red Lorry Yellow Lorry,
The United States of America,
Goldenarms,
Dorothy Ashby,
The Smoke,
Franke,
Ituana,
Saccharine Trust,
Chrome,
The Pretty Things,
Crash Course in Science,
Y Pants,
Thinking Fellers Union Local 282,
Von Mondo,
Warren Ellis,
Deadbeat,
Jesper Dahlbäck,
Laurel Aitken,
Public Enemy,
New Age Steppers,
Beasts of Bourbon,
The Dirtbombs,
The Electric Prunes,
The Skatalites,
Country Teasers,
One Last Wish,
Audionom,
Liaisons Dangereuses,
Soul Sonic Force,
Bizarre Inc.,
the Association,
Scientists,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.