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 Cuba and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 Moebius to the punk kids.
I played it at the 40 Watt.
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 Pylon. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Roy Ayers Ubiquity,
Vladislav Delay,
This Heat,
Moby Grape,
Marmalade,
Talk Talk,
James Chance & The Contortions,
Rakim,
Jesper Dahlback,
Sunsets and Hearts,
Barrington Levy,
K-Klass,
Moss Icon,
Second Layer,
Bizarre Inc.,
Roxette,
Metal Thangz,
Darondo,
the Human League,
Carl Craig,
Skarface,
The Last Poets,
Sixth Finger,
Icehouse,
Rekid,
Lucky Dragons,
48th St. Collective,
Art Ensemble Of Chicago,
Soul II Soul,
One Last Wish,
Reuben Wilson,
Absolute Body Control,
Massinfluence,
Pagans,
Hot Snakes,
The Mighty Diamonds,
Con Funk Shun,
Fela Kuti,
Tim Buckley,
Kurtis Blow,
Lakeside,
Mission of Burma,
Judy Mowatt,
Flamin' Groovies,
The Detroit Cobras,
Inner City,
Wire,
Young Marble Giants,
Rhythim Is Rhythim,
Matthew Bourne,
Grey Daturas,
Brand Nubian,
Soft Machine,
Richard Hell and the Voidoids,
Scott Walker,
The Real Kids,
Lightning Bolt,
Dark Day,
Eden Ahbez,
Interpol,
Silicon Teens,
Nik Kershaw,
London Community Gospel Choir,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.