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 Lithuania and from Madrid.
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 1967 to 1972.
I'm losing my edge.
To all the kids in London and Lagos.
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 theremin sounds with much patience.
I was there when Holger Czukay 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 Underground Resistance to the jazz 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 Carl Craig. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Magazine,
Joensuu 1685,
Marvin Gaye,
Kings Of Tomorrow,
Slick Rick,
Röyhkä ja Rättö ja Lehtisalo,
Yusef Lateef,
a-ha,
Masters at Work,
Harpers Bizarre,
Gang of Four,
Minor Threat,
The Wake,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Thee Headcoats,
Jacob Miller,
Warsaw,
The Blues Magoos,
Schoolly D,
The Evens,
The Five Americans,
Jerry Gold Smith,
The Blackbyrds,
Mad Mike,
The Electric Prunes,
Ornette Coleman,
Blossom Toes,
Ronan,
Bauhaus,
Parry Music,
Judy Mowatt,
Joy Division,
Cabaret Voltaire,
Mark Hollis,
Ituana,
John Holt,
Fear,
Angry Samoans,
Yellowson,
Lyres,
Reuben Wilson,
Average White Band,
Japan,
Q and Not U,
Be Bop Deluxe,
Con Funk Shun,
Half Japanese,
Neu!,
Crispian St. Peters,
Sunsets and Hearts,
Lakeside,
Eyeless In Gaza,
Barbara Tucker,
Echospace,
Rahsaan Roland Kirk,
The Victims,
B.T. Express,
Tim Buckley,
The United States of America,
De La Soul & Jungle Brothers,
The Music Machine,
Urselle, Urselle, Urselle, Urselle.
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.