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 Italy and from Johannesburg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
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 sitar 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 Mr. Review to the crunk 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 Unrelated Segments. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Icehouse,
The J.B.'s,
Gregory Isaacs,
Minny Pops,
The Searchers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mr. Review,
Pharaoh Sanders and the Fire Engines,
Buzzcocks,
Tommy Roe,
Cymande,
Spoonie Gee,
D'Angelo,
Fear,
Bobby Sherman,
Arab on Radar,
48th St. Collective,
Teenage Jesus and the Jerks,
Porter Ricks,
Sarah Menescal,
The Move,
Nils Olav,
Eyeless In Gaza,
Absolute Body Control,
Lebanon Hanover,
Kerri Chandler,
Gil Scott-Heron & Brian Jackson,
Jesper Dahlback,
Black Flag,
The Mighty Diamonds,
Nas,
Thinking Fellers Union Local 282,
The Black Dice,
The Blues Magoos,
The Angels of Light,
Brass Construction,
The Mojo Men,
Rowland S Howard / Lydia Lunch,
Kaleidoscope,
Gang Starr,
Kayak,
Lee Hazlewood,
Camron Feat. Jay Z And Juelz,
Qualms,
John Holt,
Technova,
Glambeats Corp.,
The Red Krayola,
Jesper Dahlbäck,
Animal Collective,
Supertramp,
Flash Fearless,
John Lydon,
The Walker Brothers,
Man Eating Sloth,
Cecil Taylor,
Henry Cow,
Gian Franco Pienzio,
Gastr Del Sol,
Stockholm Monsters,
Eden Ahbez,
Danielle Patucci,
Roxette, Roxette, Roxette, Roxette.
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.