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 India and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Accra and Halifax.
I'm losing my edge to the art-school Bologna 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 Chic practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Nick Fraelich to the disco kids.
I played it at the Astoria.
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 David Bowie. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Barry Ungar 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Pantaleimon,
Althea and Donna,
Q65,
Sonny Sharrock,
Andrew Hill,
Neil Young & Crazy Horse,
X-102,
Prince Buster,
Black Flag,
Neil Young,
Red Lorry Yellow Lorry,
Flipper,
Radiohead,
Y Pants,
Vainqueur,
Jerry's Kids,
Infiniti,
Flash Fearless,
Mad Mike,
The Techniques,
The Gun Club,
Kenny Larkin,
Ituana,
Lindisfarne,
a-ha,
Moby Grape,
Ronnie Foster,
X-101,
The Raincoats,
Symarip,
Bronski Beat,
Country Teasers,
The Fire Engines,
D'Angelo,
The Star Department,
Smog,
Minor Threat,
Avey Tare's Slasher Flicks,
the Swans,
London Community Gospel Choir,
Swell Maps,
Audionom,
Cheater Slicks,
U.S. Maple,
Schoolly D,
Dark Day,
The Electric Prunes,
The Men They Couldn't Hang,
Graham Central Station,
Camberwell Now,
Pete Rock & C.L. Smooth,
Al Stewart,
Porter Ricks,
Sugar Minott,
Thompson Twins,
Notorious Big And Bone Thugs,
David McCallum,
Bobby Sherman,
Delon & Dalcan,
Soft Machine,
Circle Jerks,
John Cale,
The Doors, The Doors, The Doors, The Doors.
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.