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 Armenia and from Manila.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Eden Ahbez to the techno 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 Slave. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Excepter,
Hot Snakes,
Hashim,
Cabaret Voltaire,
Letta Mbulu,
Thinking Fellers Union Local 282,
K-Klass,
Organ,
T.S.O.L.,
Kool G Rap & DJ Polo,
Major Organ And The Adding Machine,
A Certain Ratio,
Kerrie Biddell,
Q and Not U,
Eve St. Jones,
Infiniti,
Tim Buckley,
Fort Wilson Riot,
Joyce Sims,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Bob Dylan,
The Alarm Clocks,
The Raincoats,
The Star Department,
Babytalk,
Surgeon,
Underground Resistance,
Buzzcocks,
Average White Band,
The Last Poets,
The Skatalites,
Lou Reed & John Cale,
Moby Grape,
Avey Tare & Kría Brekkan,
Scientists,
Icehouse,
Nick Fraelich,
Sister Nancy,
Hasil Adkins,
Saccharine Trust,
The Names,
Desert Stars,
Absolute Body Control,
Moss Icon,
Curtis Mayfield,
Sight & Sound,
Pulsallama,
Big Daddy Kane,
Sugar Minott,
Basic Channel,
Bobby Sherman,
Make Up,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Black Dice,
Alice Coltrane,
the Swans,
Bad Manners,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.