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 Liberia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Archie Shepp to the techno 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 Alice Coltrane. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash 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 a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Robert Hood,
Rufus Thomas,
Throbbing Gristle,
Larry & the Blue Notes,
The West Coast Pop Art Experimental Band,
Sexual Harrassment,
Glambeats Corp.,
Roxy Music,
Skriet,
The Star Department,
Angry Samoans,
E-Dancer,
Ultra Naté,
Joe Smooth,
Cluster,
Youth Brigade,
Magma,
This Heat,
Liliput,
The Techniques,
the Bar-Kays,
Gian Franco Pienzio,
8 Eyed Spy,
Depeche Mode,
Al Stewart,
June Days,
Tommy Roe,
Nik Kershaw,
Supertramp,
Mark Hollis,
Fort Wilson Riot,
Johnny Osbourne,
Derrick Morgan,
Avey Tare's Slasher Flicks,
Lou Reed & Metallica,
Arab on Radar,
Jeru the Damaja,
Cameo,
Flamin' Groovies,
Organ,
Skaos,
Donny Hathaway,
The Flesh Eaters,
Boogie Down Productions,
Dennis Brown,
Chris Corsano,
Television Personalities,
Camouflage,
The Pop Group,
Con Funk Shun,
Spoonie Gee,
Nico,
Babytalk,
Dorothy Ashby,
The Blackbyrds,
Vainqueur,
Howard Jones,
The Pretty Things,
Bizarre Inc.,
The Fugs,
ABBA,
Janne Schatter,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.