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 Dominica and from London.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Salvador 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Supertramp to the electroclash 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 Pierre Henry. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Goldenarms,
Arthur Verocai,
Magma,
Neu!,
Japan,
Connie Case,
Sun Ra Arkestra,
Nation of Ulysses,
June of 44,
Harpers Bizarre,
Q65,
Main Source,
James Chance & The Contortions,
The Dead C,
Juan Atkins,
Sugar Minott,
These Immortal Souls,
Bobby Sherman,
Gang Starr,
Supertramp,
Black Moon,
Shoche,
Fort Wilson Riot,
Grandmaster Flash,
Roxy Music,
Stereo Dub,
Blossom Toes,
Panda Bear,
Bush Tetras,
Soul Sonic Force,
Fad Gadget,
Mantronix,
The Selecter,
David McCallum,
Audionom,
The Count Five,
Bobby Womack,
Con Funk Shun,
Kaleidoscope,
kango's stein massive,
Y Pants,
Urselle,
Idris Muhammad,
Siglo XX,
This Heat,
Ludus,
Popol Vuh,
Los Fastidios,
Glambeats Corp.,
Franke,
Agent Orange,
London Community Gospel Choir,
Public Image Ltd.,
The Techniques,
Sex Pistols,
Magazine,
The Pop Group,
Spoonie Gee,
X-Ray Spex,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.