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 Samoa and from Lille.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Gil Scott-Heron & Brian Jackson 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 Grey Daturas. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Sarah Menescal,
The Mummies,
Sunsets and Hearts,
Sun City Girls,
Quadrant,
Cybotron,
Reuben Wilson,
Gang Starr,
Blossom Toes,
The Golliwogs,
The Last Poets,
Jesper Dahlbäck,
The Cowsills,
The Pop Group,
The Stooges,
The New Christs,
Rosa Yemen,
Von Mondo,
Silicon Teens,
Unrelated Segments,
Kenny Larkin,
Matthew Halsall,
Moby Grape,
Ash Ra Tempel,
Accadde A,
Hashim,
Kerri Chandler,
Letta Mbulu,
Icehouse,
Captain Beefheart & His Magic Band,
Hoover,
Thinking Fellers Union Local 282,
Peter and Kerry,
Aloha Tigers,
Average White Band,
The Motions,
The Beau Brummels,
The Leaves,
Main Source,
Popol Vuh,
Spandau Ballet,
The Detroit Cobras,
The Fall,
The Sisters of Mercy,
Bootsy's Rubber Band,
Bill Near,
Pete Rock & C.L. Smooth,
Godley & Creme,
Kool G Rap & DJ Polo,
Rites of Spring,
Lyres,
the Slits,
The Mojo Men,
Nirvana,
Aswad,
The Invisible,
Pet Shop Boys,
The Velvet Underground,
The Martian,
Newcleus,
The Sound,
Surgeon,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.