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 Belgium and from Seoul.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Madrid 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 Tomorrow to the jazz 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 Camberwell Now. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Banda Bassotti,
the Slits,
The Litter,
Eden Ahbez,
It's A Beautiful Day,
Sugar Minott,
Lou Reed & Metallica,
Röyhkä ja Rättö ja Lehtisalo,
Selector Dub Narcotic,
Con Funk Shun,
Country Joe & The Fish,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Thompson Twins,
Smog,
Public Image Ltd.,
Liliput,
Derrick May,
Das Ding,
Moss Icon,
Richard Hell and the Voidoids,
Sight & Sound,
Swell Maps,
The Count Five,
Tomorrow,
Aural Exciters,
The Stooges,
Shuggie Otis,
the Human League,
Sällskapet,
Visionaries,LMNO, T- Love & Iriscience,
Ronan,
The Names,
Erykah Badu,
Kenny Larkin,
Gang of Four,
The Searchers,
Reuben Wilson,
The Associates,
Big Daddy Kane,
Sam Rivers,
Lyres,
DJ Style,
Man Eating Sloth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donny Hathaway,
Louis and Bebe Barron,
The Cure,
Bobby Hutcherson,
Barbara Tucker,
KRS-One,
Icehouse,
Skriet,
Reagan Youth,
The J.B.'s,
Dennis Brown,
Camouflage,
Rotary Connection,
Major Organ And The Adding Machine,
The Blackbyrds,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.