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 Sudan and from New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school Madrid 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 clarinet 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 Eli Mardock to the dance kids.
I played it at the Crocodile.
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 Half Japanese. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Kerri Chandler 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Amon Düül II,
Kerrie Biddell,
The Monks,
Soul Sonic Force,
Bobby Byrd,
The Shadows of Knight,
Nas,
Shuggie Otis,
Graham Central Station,
Wolf Eyes,
Frankie Knuckles,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Rakim,
Deakin,
Marc Romboy vs. Booka Shade,
Pulsallama,
Traffic Nightmare,
The American Breed,
Kayak,
Maurizio,
Public Image Ltd.,
Lucky Dragons,
Supertramp,
Grauzone,
World's Most,
UT,
New Age Steppers,
Lalo Schifrin,
Ornette Coleman,
Parry Music,
Prince Buster,
John Foxx,
Carl Craig,
Gang Gang Dance,
The Move,
Echo & the Bunnymen,
Fat Boys,
The Peanut Butter Conspiracy,
8 Eyed Spy,
The Doors,
Colin Newman,
Can,
Warsaw,
Guru Guru,
Scrapy,
Chris Corsano,
Television Personalities,
Lakeside,
Roxy Music,
Slick Rick,
Ultramagnetic MC's,
Cybotron,
Fort Wilson Riot,
Kevin Saunderson,
Gian Franco Pienzio,
Neil Young,
OOIOO,
Lebanon Hanover,
June of 44,
Derrick May, Derrick May, Derrick May, Derrick May.
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.