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 Barbados 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 1964 to 1979.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Cairo 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 snare 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 Siglo XX to the grunge 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 Red Lorry Yellow Lorry. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons 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?
Brothers Johnson,
Soft Machine,
Easy Going,
The Star Department,
Röyhkä ja Rättö ja Lehtisalo,
Terrestrial Tones,
Notorious BIG live in Amsterdam,
Boredoms,
James Chance & The Contortions,
Nico,
Jesper Dahlback,
X-102,
The Offenders,
Juan Atkins,
Peter and Kerry,
Fugazi,
Cluster,
Gabor Szabo,
Rapeman,
Rowland S Howard / Lydia Lunch,
Rod Modell,
Bronski Beat,
Eli Mardock,
Funkadelic,
John Lydon,
Roxy Music,
Arab on Radar,
The Red Krayola,
Scratch Acid,
Bad Manners,
Echo & the Bunnymen,
Joyce Sims,
Depeche Mode,
Zapp,
Sarah Menescal,
Althea and Donna,
Ken Boothe,
The Gladiators,
Outsiders,
Section 25,
the Slits,
Gregory Isaacs,
Ice-T,
Second Layer,
Technova,
New York Dolls,
Howard Jones,
Crime,
Supertramp,
Theoretical Girls,
Ralphi Rosario,
Dennis Brown,
The Smiths,
The Dirtbombs,
Mark Hollis,
Janne Schatter,
Al Stewart,
Soul II Soul,
The Slits,
Minor Threat,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.