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 Uzbekistan and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school New York 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 chamberlin 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 China Crisis to the grime 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 Aloha Tigers. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every The Moleskins 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Bobby Byrd,
Reuben Wilson,
These Immortal Souls,
Hoover,
Siouxsie and the Banshees,
Unrelated Segments,
kango's stein massive,
The Litter,
Kevin Saunderson,
Derrick May,
Kerri Chandler,
Johnny Clarke,
The Mojo Men,
Wasted Youth,
Alice Coltrane,
Q and Not U,
The Black Dice,
Bootsy's Rubber Band,
Nation of Ulysses,
June of 44,
Eve St. Jones,
Soul II Soul,
Pussy Galore,
Beasts of Bourbon,
Electric Prunes,
The Cosmic Jokers,
Lyres,
Drexciya,
Lou Christie,
Quadrant,
The Dead C,
Minnie Riperton,
Warsaw,
Sly & The Family Stone,
Big Daddy Kane,
Kango’s Stein Massive,
Sonic Youth,
Half Japanese,
The Martian,
Gastr Del Sol,
Sun Ra Arkestra,
Bobby Womack,
James White and The Blacks,
Heaven 17,
The Selecter,
The Divine Comedy,
Lucky Dragons,
Sonny Sharrock,
Oppenheimer Analysis,
Lower 48,
The Neon Judgement,
Radio Birdman,
Marmalade,
The Kinks,
The Raincoats,
Peter & Gordon,
Dark Day,
Rakim,
The Angels of Light,
Fluxion,
Sam Rivers,
The Residents,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.