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 Russia and from Accra.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Halifax.
I'm losing my edge to the art-school Lagos 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 guitar sounds with much patience.
I was there when Lou Reed 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 Albert Ayler to the funk 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 Matthew Halsall. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Altered Images,
Roxette,
David Bowie,
Pantaleimon,
Nick Fraelich,
Scratch Acid,
Fela Kuti,
Stetsasonic,
Beasts of Bourbon,
Yaz,
Vladislav Delay,
Rakim,
Thinking Fellers Union Local 282,
John Holt,
Schoolly D,
Bill Near,
The Blues Magoos,
Rufus Thomas,
Pylon,
Ten City,
Magazine,
Yazoo,
Faust,
Country Teasers,
Smog,
DJ Style,
Marine Girls,
The Count Five,
Gregory Isaacs,
Pere Ubu,
8 Eyed Spy,
The Divine Comedy,
The Mummies,
Grandmaster Flash and the Furious Five,
Anakelly,
Lou Reed & John Cale,
The Techniques,
The Dirtbombs,
Gastr Del Sol,
Masters at Work,
Bootsy's Rubber Band,
Arthur Verocai,
Lonnie Liston Smith,
Sonny Sharrock,
Bauhaus,
Mo-Dettes,
Main Source,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Con Funk Shun,
48th St. Collective,
Delta 5,
Bob Dylan,
Warsaw,
The Beau Brummels,
Motorama,
Charles Mingus,
Barbara Tucker,
Swell Maps,
Gichy Dan,
Hoover,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.