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 Mozambique and from Glasgow.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Milan 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 Josef K practice in a loft in Edinburgh.
I was working on the sitar 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 Porter Ricks to the funk 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 Kango’s Stein Massive. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Newcleus,
Organ,
Art Ensemble Of Chicago,
Throbbing Gristle,
The Misunderstood,
Gil Scott-Heron and Jamie xx,
Aural Exciters,
Pole,
Excepter,
Boogie Down Productions,
Alison Limerick,
Major Organ And The Adding Machine,
Sugar Minott,
Iggy Pop,
Swell Maps,
Porter Ricks,
Japan,
Radio Birdman,
Bobby Womack,
Kas Product,
China Crisis,
Fear,
Eric Dolphy,
Symarip,
Thinking Fellers Union Local 282,
Black Flag,
Camberwell Now,
Ultimate Spinach,
Marcia Griffiths,
Judy Mowatt,
Dawn Penn,
The Gun Club,
Eric B and Rakim,
Gang Starr,
Anakelly,
48th St. Collective,
Quando Quango,
Oppenheimer Analysis,
The Divine Comedy,
The Moleskins,
Big Daddy Kane,
Teenage Jesus and the Jerks,
Be Bop Deluxe,
Joe Smooth,
Jerry Gold Smith,
Andrew Ashong & Theo Parrish,
Jimmy McGriff,
Jesper Dahlback,
Lou Christie,
Howard Jones,
Los Fastidios,
Niagra,
Con Funk Shun,
Deadbeat,
Jacques Brel,
Heavy D & The Boyz,
Gang Green,
The Seeds,
Maleditus Sound,
The J.B.'s,
Bang On A Can,
It's A Beautiful Day,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.