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 Gabon and from Delhi.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Mexico City 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 marimba 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 Roy Ayers to the dance kids.
I played it at Cafe Wha.
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 Faust. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Man Eating Sloth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Royal Trux,
The West Coast Pop Art Experimental Band,
Bang On A Can,
Fela Kuti,
Livin' Joy,
Terrestrial Tones,
Crispy Ambulance,
Sun Ra Arkestra,
The Residents,
The Mojo Men,
Jerry's Kids,
Archie Shepp,
Gabor Szabo,
Sonic Youth,
Gang Starr,
Lou Reed & Metallica,
Rapeman,
Stereo Dub,
Bobbi Humphrey,
The Happenings,
Curtis Mayfield,
Gichy Dan,
The Tremeloes,
The Selecter,
Fear,
Alton Ellis,
Liliput,
Lonnie Liston Smith,
Glenn Branca,
Swell Maps,
Lungfish,
Albert Ayler,
Gregory Isaacs,
Vladislav Delay,
MDC,
Todd Terry,
Robert Hood,
Qualms,
Black Bananas,
Cameo,
Eric Copeland,
Rakim,
Heaven 17,
Mission of Burma,
Ice-T,
The Smoke,
Pussy Galore,
Make Up,
The Busters,
the Human League,
David McCallum,
Dead Boys,
Sonny Sharrock,
Animal Collective,
Gian Franco Pienzio,
Sam Rivers,
Bauhaus,
The Jesus and Mary Chain,
DeepChord presents Echospace,
Derrick May,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.