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 Kenya and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Milan.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Cymande to the rap kids.
I played it at the Roxy.
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 Oppenheimer Analysis. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Black Flag 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Deadbeat,
Pet Shop Boys,
The Fugs,
Rapeman,
Royal Trux,
Man Eating Sloth,
Yellowson,
Althea and Donna,
David McCallum,
Agitation Free,
Radio Birdman,
Brick,
Flash Fearless,
DJ Sneak,
The Names,
The Divine Comedy,
Sugar Minott,
The Jesus and Mary Chain,
Robert Wyatt,
cv313,
Stereo Dub,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
Gong,
Intrusion,
Pagans,
Sun City Girls,
Sonny Sharrock,
Wally Richardson,
Ultravox,
Pere Ubu,
Desert Stars,
Scott Walker,
Supertramp,
Röyhkä ja Rättö ja Lehtisalo,
Aural Exciters,
La Düsseldorf,
The Moody Blues,
Funkadelic,
The Barracudas,
The Black Dice,
Marine Girls,
David Axelrod,
The Pretty Things,
The Blues Magoos,
Motorama,
The Birthday Party,
Erykah Badu,
Eric B and Rakim,
Tomorrow,
Sällskapet,
Barry Ungar,
Jawbox,
Heaven 17,
Ultimate Spinach,
The Grass Roots,
Alton Ellis,
L. Decosne,
Art Ensemble Of Chicago,
Gang of Four,
Albert Ayler,
Symarip, Symarip, Symarip, Symarip.
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.