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 Korea South and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manila and Tokyo.
I'm losing my edge to the art-school Glasgow 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 güiro 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 Japan to the grunge kids.
I played it at the Spitz.
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 Bizarre Inc.. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Porter Ricks,
Althea and Donna,
The Vogues,
June of 44,
Organ,
Kool G Rap & DJ Polo,
Mr. Review,
Camberwell Now,
The Gories,
Section 25,
Los Fastidios,
Röyhkä ja Rättö ja Lehtisalo,
Leonard Cohen,
Oblivians,
Freddie Wadling,
Chrome,
Electric Prunes,
Khruangbin,
the Fania All-Stars,
Desert Stars,
Silicon Teens,
Nils Olav,
Camron Feat. Memphis Bleek And Beenie Seigel,
Big Daddy Kane,
Severed Heads,
The Names,
Lakeside,
Roger Hodgson,
Thee Headcoats,
Model 500,
Pere Ubu,
A Certain Ratio,
Alison Limerick,
Lonnie Liston Smith,
Drexciya,
Ultimate Spinach,
The Trojans,
The Beau Brummels,
David Axelrod,
Spandau Ballet,
Radiohead,
JFA,
Sonic Youth,
Carl Craig,
Lou Christie,
Cluster,
June Days,
Chris Corsano,
The United States of America,
Soft Machine,
Beasts of Bourbon,
Alphaville,
MDC,
The Seeds,
Delta 5,
cv313,
Man Eating Sloth,
John Coltrane,
Dennis Brown,
The Shadows of Knight,
The Remains, The Remains, The Remains, The Remains.
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.