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 Cape Verde and from Bologna.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Cairo 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 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 Laurel Aitken to the grunge kids.
I played it at the Hacienda.
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 Animal Collective. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Unrelated Segments,
Funky Four + One,
David McCallum,
Black Sheep,
Donald Byrd,
The Fire Engines,
Lebanon Hanover,
Spoonie Gee,
Orchestral Manoeuvres in the Dark,
Robert Görl,
Yazoo,
Lindisfarne,
Kaleidoscope,
Das Ding,
Red Lorry Yellow Lorry,
Moby Grape,
Hashim,
Reagan Youth,
Con Funk Shun,
The Angels of Light,
Morten Harket,
Röyhkä ja Rättö ja Lehtisalo,
Minutemen,
Barbara Tucker,
Louis and Bebe Barron,
DNA,
Sunsets and Hearts,
Pussy Galore,
Wasted Youth,
Barrington Levy,
Eve St. Jones,
In Retrospect,
Swans,
Mary Jane Girls,
Cybotron,
Depeche Mode,
Joe Finger,
Man Eating Sloth,
the Human League,
Notorious BIG live in Amsterdam,
Larry & the Blue Notes,
Harpers Bizarre,
Fluxion,
the Normal,
Peter & Gordon,
These Immortal Souls,
The Chocolate Watch Band,
Arthur Verocai,
The Barracudas,
The Jesus and Mary Chain,
Funkadelic,
Altered Images,
DJ Sneak,
Lou Reed,
The Victims,
Qualms,
Tommy Roe,
Scion,
Pulsallama,
Make Up,
Japan,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.