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 Mongolia and from Bologna.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Erasure to the rap 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 Dorothy Ashby. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins 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?
Avey Tare & Kría Brekkan,
the Sonics,
David McCallum,
Radio Birdman,
Cheater Slicks,
Letta Mbulu,
The Busters,
Lakeside,
The New Christs,
Ohio Players,
Dead Boys,
The Star Department,
John Holt,
Hardrive,
Agent Orange,
The Doobie Brothers,
The Mighty Diamonds,
Barrington Levy,
the Normal,
EPMD,
Donald Byrd,
Scion,
Clear Light,
Khruangbin,
Patti Smith,
Simply Red,
Barclay James Harvest,
Tommy Roe,
Chris & Cosey,
Kenny Larkin,
The Pop Group,
U.S. Maple,
Oneida,
The Electric Prunes,
Guru Guru,
Gil Scott Heron,
The Birthday Party,
James White and The Blacks,
Popol Vuh,
The Grass Roots,
The Real Kids,
Livin' Joy,
Eyeless In Gaza,
Joey Negro,
Cal Tjader,
Johnny Osbourne,
Bootsy's Rubber Band,
Make Up,
Spoonie Gee,
Notorious Big And Bone Thugs,
The Walker Brothers,
Pharaoh Sanders and the Fire Engines,
Fad Gadget,
Monolake,
DJ Sneak,
The Royal Family And The Poor,
Metal Thangz,
Negative Approach,
Ronnie Foster,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.