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 Kenya and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Manila 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 Captain Beefheart 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 Half Japanese to the jazz kids.
I played it at the Troubador.
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 Janne Schatter. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
The Seeds,
Negative Approach,
Orchestral Manoeuvres in the Dark,
The Cosmic Jokers,
Todd Rundgren,
Freddie Wadling,
Deakin,
Fifty Foot Hose,
The Fall,
Rotary Connection,
Parry Music,
Jeru the Damaja,
Depeche Mode,
Easy Going,
Richard Hell and the Voidoids,
Sight & Sound,
Traffic Nightmare,
Captain Beefheart & His Magic Band,
The Fire Engines,
Malaria!,
Kango’s Stein Massive,
Babytalk,
8 Eyed Spy,
Lightning Bolt,
Ten City,
The Doors,
Gil Scott-Heron & Brian Jackson,
B.T. Express,
The Dirtbombs,
R.M.O.,
The Electric Prunes,
The Knickerbockers,
The Names,
Monks,
Roxy Music,
Slave,
Tubeway Army,
Eve St. Jones,
Con Funk Shun,
Main Source,
The J.B.'s,
Brick,
Crispy Ambulance,
Shuggie Otis,
Siouxsie and the Banshees,
De La Soul & Jungle Brothers,
The Divine Comedy,
Ultimate Spinach,
Zapp,
Shoche,
Avey Tare's Slasher Flicks,
The Alarm Clocks,
Zero Boys,
Banda Bassotti,
F. McDonald,
The Cowsills,
X-102,
Sam Rivers,
Gil Scott Heron,
JFA,
Wally Richardson,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.