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 Bolivia and from Accra.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Robert Palmer 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 disco 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 Donald Byrd. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Crispian St. Peters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Girls At Our Best!,
The Gladiators,
48th St. Collective,
Unwound,
FM Einheit,
Stockholm Monsters,
Television Personalities,
Erykah Badu,
Accadde A,
The United States of America,
The Detroit Cobras,
One Last Wish,
Lou Christie,
Nas,
Grauzone,
Rahsaan Roland Kirk,
Pete Rock & C.L. Smooth,
The Techniques,
Joe Finger,
Thinking Fellers Union Local 282,
Grandmaster Flash and the Furious Five,
John Cale,
Strawberry Alarm Clock,
Stetsasonic,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
Sly & The Family Stone,
Sound Behaviour,
Fort Wilson Riot,
Surgeon,
A Certain Ratio,
Soft Machine,
Kaleidoscope,
Terry Callier,
Parry Music,
Matthew Halsall,
Jawbox,
UT,
Thompson Twins,
Talk Talk,
Laurel Aitken,
Boogie Down Productions,
D'Angelo,
Cymande,
Panda Bear,
Peter and Kerry,
China Crisis,
Don Cherry,
AZ,
U.S. Maple,
Main Source,
Kango’s Stein Massive,
Ossler,
Fluxion,
Gil Scott Heron,
Sam Rivers,
June of 44,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.