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 East Timor and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school London 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 güiro 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 Little Man to the grunge kids.
I played it at the 40 Watt.
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 The Star Department. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The Shadows of Knight 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Kayak,
The Index,
Main Source,
Pierre Henry,
Bush Tetras,
Eric Dolphy,
Cluster,
The Standells,
Ten City,
Liaisons Dangereuses,
Rahsaan Roland Kirk,
Rakim,
Negative Approach,
Brass Construction,
Slave,
Pharoah Sanders,
8 Eyed Spy,
the Slits,
Rekid,
Masters at Work,
Rhythm & Sound,
Aswad,
Eyeless In Gaza,
Bluetip,
Dr. Dre and Snoop Doggy Dog,
Warren Ellis,
Panda Bear,
Larry & the Blue Notes,
Moss Icon,
Mission of Burma,
Ornette Coleman,
James White and The Blacks,
DJ Sneak,
MC5,
The Dirtbombs,
Notorious Big And Bone Thugs,
Judy Mowatt,
Avey Tare's Slasher Flicks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Trojans,
The Misunderstood,
Boz Scaggs,
The Flesh Eaters,
Arcadia,
The Neon Judgement,
Peter & Gordon,
The Shadows of Knight,
The Durutti Column,
Dead Boys,
The Cramps,
Reagan Youth,
Buzzcocks,
Soul Sonic Force,
Liliput,
The Doobie Brothers,
Tres Demented,
Chris Corsano,
Roy Ayers Ubiquity,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.