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 South Africa and from Houston.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Winnipeg.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Lizzy Mercier Descloux to the crunk 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 Scott Walker + Sunn O))). All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Ludus 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Parry Music,
Kool G Rap & DJ Polo,
Skriet,
Cameo,
The Black Dice,
Eden Ahbez,
Graham Central Station,
Sonny Sharrock,
The Cosmic Jokers,
Roy Ayers,
Avey Tare's Slasher Flicks,
Oppenheimer Analysis,
Desert Stars,
Aural Exciters,
Matthew Halsall,
Man Eating Sloth,
The Cramps,
Joyce Sims,
The Slackers,
Toni Rubio,
Black Bananas,
Brand Nubian,
Red Lorry Yellow Lorry,
Nico,
The Tremeloes,
Roxette,
Thee Headcoats,
Black Pus,
Fear,
Mission of Burma,
Flash Fearless,
David Axelrod,
Donny Hathaway,
Bush Tetras,
The American Breed,
Jeru the Damaja,
Crispian St. Peters,
Man Parrish,
Marc Almond,
Animal Collective,
Cal Tjader,
Be Bop Deluxe,
Theoretical Girls,
Tropical Tobacco,
John Cale,
Thinking Fellers Union Local 282,
Manfred Mann's Earth Band,
Public Enemy,
The Men They Couldn't Hang,
Lizzy Mercier Descloux,
Dual Sessions,
the Slits,
Suicide,
Art Ensemble Of Chicago,
U.S. Maple,
Stereo Dub,
Nirvana,
Chris & Cosey,
Outsiders,
Little Man,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.