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 Armenia and from London.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Houston and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Brass Construction to the dance kids.
I played it at the Astoria.
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 Yusef Lateef. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every The Fuzztones 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Tomorrow,
R.M.O.,
Yazoo,
This Heat,
Echo & the Bunnymen,
Lower 48,
Amon Düül II,
Easy Going,
Parry Music,
X-Ray Spex,
Lalann,
a-ha,
Manfred Mann's Earth Band,
Vladislav Delay,
Pylon,
Max Romeo,
Jacques Brel,
Y Pants,
Kango’s Stein Massive,
Rapeman,
Bobbi Humphrey,
Blake Baxter,
Deadbeat,
Main Source,
Sparks,
Dave Gahan,
Stockholm Monsters,
Rahsaan Roland Kirk,
Minor Threat,
Flipper,
Q65,
Joy Division,
Peter & Gordon,
Masters at Work,
The Velvet Underground,
Howard Jones,
Ituana,
Anthony Braxton,
Flash Fearless,
Jandek,
Kevin Saunderson,
Con Funk Shun,
Dr. Dre and Snoop Doggy Dog,
Ossler,
Soulsonic Force,
Cabaret Voltaire,
Section 25,
Pierre Henry,
Model 500,
JFA,
the Sonics,
Rotary Connection,
Warsaw,
Donny Hathaway,
The Last Poets,
Eric B and Rakim,
Eli Mardock,
Röyhkä ja Rättö ja Lehtisalo,
John Cale,
Metal Thangz,
Charles Mingus,
Aswad, Aswad, Aswad, Aswad.
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.