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 St Kitts & Nevis and from Spokane.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Manila 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 rhodes 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 Yellowson to the grunge kids.
I played it at the Troubador.
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 Metal Thangz. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Lyres,
Boredoms,
Chris & Cosey,
Hoover,
Vainqueur,
Goldenarms,
The Detroit Cobras,
Delon & Dalcan,
Half Japanese,
Von Mondo,
Roy Ayers,
The Wake,
Richard Hell and the Voidoids,
Moby Grape,
Shuggie Otis,
The Tremeloes,
The Standells,
Cecil Taylor,
Sandy B,
Robert Hood,
Gong,
Larry & the Blue Notes,
Camron Feat. Jay Z And Juelz,
Josef K,
Be Bop Deluxe,
Jimmy McGriff,
Arcadia,
Oneida,
Chrome,
Motorama,
Kango’s Stein Massive,
Sad Lovers and Giants,
The Grass Roots,
Heaven 17,
Anakelly,
The Gladiators,
U.S. Maple,
Roxy Music,
Glambeats Corp.,
Pantytec,
Echo & the Bunnymen,
Ken Boothe,
Scan 7,
Index,
Wings,
Bobbi Humphrey,
Subhumans,
Nico,
Public Enemy,
A Certain Ratio,
Bizarre Inc.,
Derrick Morgan,
Notorious Big And Bone Thugs,
Curtis Mayfield,
The Electric Prunes,
The Names,
Lindisfarne,
Deutsch Amerikanische Freundschaft,
Scott Walker,
The Last Poets,
The American Breed,
Joe Finger,
The Techniques, The Techniques, The Techniques, The Techniques.
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.