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 Bangladesh and from Lyon.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Mexico City 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 808 sounds with much patience.
I was there when Donald Fagen 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 Curtis Mayfield to the techno kids.
I played it at the Crocodile.
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 Tomorrow. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Steve Hackett,
Arthur Verocai,
Letta Mbulu,
The Index,
Ralphi Rosario,
Hot Snakes,
The Red Krayola,
Slick Rick,
Stereo Dub,
Au Pairs,
The Move,
Crash Course in Science,
Cymande,
Yellowson,
Camron Feat. Jay Z And Juelz,
Lyres,
Goldenarms,
Marmalade,
The Remains,
Bootsy Collins,
The Skatalites,
Thee Headcoats,
Sunsets and Hearts,
Unrelated Segments,
Black Flag,
The Young Rascals,
Bronski Beat,
The Black Dice,
Janne Schatter,
Gary Puckett & The Union Gap,
The Slackers,
Deutsch Amerikanische Freundschaft,
Patti Smith,
The Electric Prunes,
Pierre Henry,
Vladislav Delay,
The Star Department,
Basic Channel,
Skaos,
Cecil Taylor,
Deakin,
Wally Richardson,
Fatback Band,
Erykah Badu,
Isaac Hayes,
Gong,
Drive Like Jehu,
The Sisters of Mercy,
Jacob Miller,
Lebanon Hanover,
Inner City,
The Motions,
DeepChord presents Echospace,
Panda Bear,
DNA,
Cameo,
Alton Ellis,
London Community Gospel Choir,
Monolake,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.