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 Ivory Coast and from Copenhagen.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Quantec to the rock kids.
I played it at the Crocodile.
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 Fat Boys. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Livin' Joy 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Black Moon,
Derrick May,
Eric Copeland,
Gabor Szabo,
Letta Mbulu,
The Techniques,
Michelle Simonal,
Loose Ends,
D'Angelo,
Magma,
Grauzone,
Chrome,
John Lydon,
Drive Like Jehu,
Rhythm & Sound,
David Axelrod,
Kurtis Blow,
June of 44,
Popol Vuh,
Ten City,
Spandau Ballet,
Boredoms,
The Pretty Things,
Bill Wells,
Visage,
The United States of America,
Marc Almond,
Spoonie Gee,
Teenage Jesus and the Jerks,
Deakin,
R.M.O.,
Stockholm Monsters,
The Gladiators,
Siglo XX,
Wally Richardson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Hutcherson,
FM Einheit,
Kaleidoscope,
Scan 7,
The Black Dice,
This Heat,
Bobby Byrd,
Black Flag,
X-102,
The American Breed,
Barrington Levy,
the Bar-Kays,
Surgeon,
Funkadelic,
Peter & Gordon,
The Royal Family And The Poor,
DJ Style,
Hoover,
Be Bop Deluxe,
Lyres,
Wasted Youth,
Cecil Taylor,
John Cale,
Das Ding,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.