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 Kenya and from Mexico City.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Lyon 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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Young Marble Giants to the crunk kids.
I played it at CBGB's.
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 Aaron Thompson. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Tubeway Army 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Bill Wells,
The Mummies,
Letta Mbulu,
Young Marble Giants,
Pete Rock & C.L. Smooth,
LL Cool J,
Dead Boys,
Shoche,
Toni Rubio,
Jerry Gold Smith,
Chrome,
Roger Hodgson,
Bad Manners,
Ornette Coleman,
Rufus Thomas,
The Velvet Underground,
Section 25,
Jimmy McGriff,
Monks,
Public Image Ltd.,
Brass Construction,
Arab on Radar,
L. Decosne,
Danielle Patucci,
DNA,
Schoolly D,
Scientists,
Siouxsie and the Banshees,
Heavy D & The Boyz,
Al Stewart,
Joe Finger,
Heaven 17,
Maleditus Sound,
Mission of Burma,
Pole,
Mo-Dettes,
Electric Light Orchestra,
Marshall Jefferson,
Avey Tare,
Barry Ungar,
Kool Moe Dee,
Sight & Sound,
David Bowie,
Cybotron,
Barrington Levy,
Beasts of Bourbon,
Kool G Rap & DJ Polo,
Camouflage,
Zapp,
Camron Feat. Jay Z And Juelz,
The Associates,
The Zeros,
Cal Tjader,
Justin Hinds & The Dominoes,
Piero Umiliani,
The Fortunes,
The Black Dice,
Gang of Four,
Theoretical Girls,
Zero Boys,
Carl Craig,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.