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 St Lucia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school Stockholm 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Ossler to the jazz 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 Terry Callier. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Alice Coltrane,
The Beau Brummels,
Model 500,
Amon Düül II,
Avey Tare's Slasher Flicks,
Idris Muhammad,
Aural Exciters,
B.T. Express,
Scrapy,
Godley & Creme,
Hardrive,
Sixth Finger,
Nik Kershaw,
Mark Hollis,
Cluster,
Glenn Branca,
Roxette,
Toni Rubio,
Funkadelic,
Eurythmics,
Niagra,
Aloha Tigers,
The Victims,
The Wake,
Kaleidoscope,
Organ,
The Jesus and Mary Chain,
Sight & Sound,
Sunsets and Hearts,
K-Klass,
Donald Byrd,
H. Thieme,
Suburban Knight,
Accadde A,
Buzzcocks,
Joe Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Strawberry Alarm Clock,
Sister Nancy,
Marmalade,
Sandy B,
DeepChord presents Echospace,
Henry Cow,
David McCallum,
Delon & Dalcan,
Mandrill,
Erasure,
Blake Baxter,
Eyeless In Gaza,
Jesper Dahlbäck,
John Holt,
Marvin Gaye,
This Heat,
Rekid,
Pharaoh Sanders and the Fire Engines,
Rowland S Howard / Lydia Lunch,
Andrew Hill,
John Coltrane,
Jacob Miller,
Fluxion,
Interpol,
Wings,
Television, Television, Television, Television.
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.