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 Spain and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Sonny Sharrock to the disco kids.
I played it at Trash.
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 Bootsy Collins. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal funk 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 a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
The Offenders,
The Zeros,
Mad Mike,
Super Lover Cee & Casanova Rud,
The Victims,
Minny Pops,
Motorama,
Ponytail,
Roxy Music,
Monolake,
The Men They Couldn't Hang,
The Selecter,
Pete Rock & C.L. Smooth,
Popol Vuh,
the Human League,
Jimmy McGriff,
Skarface,
Amazonics,
The West Coast Pop Art Experimental Band,
Mr. Review,
Wasted Youth,
John Lydon,
DJ Sneak,
Neu!,
Maleditus Sound,
The Mummies,
Ken Boothe,
Cabaret Voltaire,
The Happenings,
Inner City,
T. Rex,
Todd Terry,
Tom Boy,
Arab on Radar,
Dennis Brown,
48th St. Collective,
The Star Department,
Rosa Yemen,
Index,
Technova,
Thinking Fellers Union Local 282,
Notorious Big And Bone Thugs,
Sarah Menescal,
Yusef Lateef,
Idris Muhammad,
Bobby Byrd,
The Vogues,
Pharoah Sanders,
Pierre Henry,
Pole,
Avey Tare & Kría Brekkan,
Gregory Isaacs,
London Community Gospel Choir,
Dual Sessions,
Archie Shepp,
Magma,
Cluster,
Art Ensemble Of Chicago,
Jawbox,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.