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 Korea North and from Shanghai.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Brass Construction to the disco 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 Malaria!. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar 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 synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Sad Lovers and Giants,
The Golliwogs,
Simply Red,
The Misunderstood,
Masters at Work,
Slick Rick,
Mandrill,
Delta 5,
Harry Pussy,
Justin Hinds & The Dominoes,
Negative Approach,
Circle Jerks,
The Moody Blues,
Marmalade,
June Days,
Zapp,
Sonic Youth,
Fluxion,
Kerrie Biddell,
Terry Callier,
Throbbing Gristle,
Gil Scott Heron,
Kerri Chandler,
Fifty Foot Hose,
The Grass Roots,
Spoonie Gee,
Rakim,
Cymande,
The Music Machine,
The Evens,
the Normal,
Lungfish,
Albert Ayler,
Moebius,
Gong,
LL Cool J,
Connie Case,
the Soft Cell,
Roger Hodgson,
Popol Vuh,
Bobby Byrd,
Barry Ungar,
Amon Düül,
Moby Grape,
Q and Not U,
Donald Byrd,
Matthew Halsall,
Zero Boys,
Bronski Beat,
Pete Rock & C.L. Smooth,
Sarah Menescal,
Bill Near,
Charles Mingus,
Drive Like Jehu,
Eurythmics,
Susan Cadogan,
Newcleus,
Pantytec,
Cabaret Voltaire,
Country Teasers,
Sight & Sound,
The Flesh Eaters,
The Selecter,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.