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 South Africa and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1978.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Winnipeg 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Qualms to the punk kids.
I played it at Cafe Wha.
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 Swans. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Moody Blues 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band 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?
Sunsets and Hearts,
Fear,
Funkadelic,
Saccharine Trust,
Jesper Dahlbäck,
Bobby Sherman,
Notorious Big And Bone Thugs,
Matthew Bourne,
Rhythm & Sound,
Fad Gadget,
Massinfluence,
Stockholm Monsters,
Groovy Waters,
Shoche,
H. Thieme,
Index,
Bobby Byrd,
Nation of Ulysses,
Gil Scott-Heron and Jamie xx,
Prince Buster,
R.M.O.,
Aloha Tigers,
Parry Music,
De La Soul & Jungle Brothers,
Main Source,
Deepchord,
Black Pus,
The Fugs,
Notorious BIG live in Amsterdam,
The Evens,
Oblivians,
Animal Collective,
Rowland S Howard / Lydia Lunch,
Stereo Dub,
Bluetip,
Dawn Penn,
Susan Cadogan,
Brick,
Trumans Water,
Ludus,
Popol Vuh,
Television,
Delta 5,
Marmalade,
Stiv Bators,
Nas,
Steve Hackett,
U.S. Maple,
Country Joe & The Fish,
Lee Hazlewood,
Bronski Beat,
Lafayette Afro Rock Band,
Jimmy McGriff,
Pere Ubu,
Rapeman,
Barclay James Harvest,
Can,
The Associates,
Big Daddy Kane,
Radio Birdman,
Liaisons Dangereuses,
the Fania All-Stars,
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.