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 Kazakhstan and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Seoul 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 marimba 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 Derrick Morgan to the grime 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 Arthur Verocai. All the underground hits.
All Bootsy Collins 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 rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The Trojans,
Clear Light,
Iggy Pop,
John Holt,
Spoonie Gee,
Lucky Dragons,
Underground Resistance,
Depeche Mode,
The Wake,
Lonnie Liston Smith,
Nick Cave & The Bad Seeds,
Ultra Naté,
Wire,
Lafayette Afro Rock Band,
Eve St. Jones,
Bobby Sherman,
Drexciya,
Little Man,
Joensuu 1685,
Terrestrial Tones,
Susan Cadogan,
The Happenings,
Siglo XX,
Public Enemy,
Ohio Players,
Be Bop Deluxe,
New York Dolls,
Cameo,
Quando Quango,
Subhumans,
The Gladiators,
The Five Americans,
Jacques Brel,
The Moleskins,
Deutsch Amerikanische Freundschaft,
Model 500,
Sad Lovers and Giants,
Henry Cow,
Vladislav Delay,
B.T. Express,
Tres Demented,
Kevin Saunderson,
Soft Cell,
Boz Scaggs,
Fugazi,
the Association,
Hasil Adkins,
The American Breed,
Archie Shepp,
Lee Hazlewood,
Byron Stingily,
Sound Behaviour,
Gong,
Sonny Sharrock,
Monolake,
Patti Smith,
Boredoms,
The Golliwogs,
Soulsonic Force,
JFA,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.