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 Egypt 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 1961 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Kango’s Stein Massive to the electroclash kids.
I played it at the 40 Watt.
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 Eric Copeland. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Moby Grape 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 '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Carl Craig,
Fear,
T.S.O.L.,
The Move,
The Doobie Brothers,
Kerri Chandler,
Half Japanese,
A Flock of Seagulls,
Porter Ricks,
Make Up,
Blancmange,
Thinking Fellers Union Local 282,
Black Sheep,
Scratch Acid,
Los Fastidios,
Amazonics,
Pole,
Bobby Hutcherson,
Whodini,
Pierre Henry,
Barrington Levy,
Gabor Szabo,
Youth Brigade,
The Alarm Clocks,
The Walker Brothers,
Vaughan Mason & Crew,
Rites of Spring,
Graham Central Station,
The Angels of Light,
Cluster,
Scion,
Chris & Cosey,
Main Source,
The Fortunes,
Juan Atkins,
Rod Modell,
A Certain Ratio,
Moby Grape,
Judy Mowatt,
Barbara Tucker,
The Golliwogs,
CMW,
Easy Going,
In Retrospect,
Wire,
Wolf Eyes,
a-ha,
Television Personalities,
The Beau Brummels,
Royal Trux,
Eric Dolphy,
Robert Hood,
Clear Light,
Sonny Sharrock,
Outsiders,
The Shadows of Knight,
Nas,
KRS-One,
Agitation Free,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.