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 Sierra Leone and from Mexico City.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Kurtis Blow to the disco 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 Soft Cell. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Arcadia,
Sly & The Family Stone,
Pylon,
The Music Machine,
Lizzy Mercier Descloux,
Ludus,
Angels of Light & Akron/Family,
LL Cool J,
Crime,
Terror Squad Feat. Camron,
Fifty Foot Hose,
Visionaries,LMNO, T- Love & Iriscience,
Hasil Adkins,
De La Soul & Jungle Brothers,
The Last Poets,
Eden Ahbez,
Symarip,
Groovy Waters,
Zero Boys,
The New Christs,
Electric Light Orchestra,
Ultra Naté,
Avey Tare's Slasher Flicks,
Ajijia Myrayebe,
Pere Ubu,
In Retrospect,
The Chocolate Watch Band,
Isaac Hayes,
Silicon Teens,
June Days,
Dorothy Ashby,
Ossler,
Fear,
Scan 7,
Tropical Tobacco,
Alison Limerick,
Mad Mike,
Newcleus,
Underground Resistance,
Fad Gadget,
The Five Americans,
Bush Tetras,
Siglo XX,
Trumans Water,
Joyce Sims,
Lakeside,
Manfred Mann's Earth Band,
Monolake,
Bobby Womack,
Bill Wells,
Basic Channel,
Blancmange,
Don Cherry,
Cybotron,
Masters at Work,
The Trojans,
the Human League,
Andrew Ashong & Theo Parrish,
The Evens,
Toni Rubio,
Accadde A,
48th St. Collective,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.