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 Japan and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1976.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Hong Kong 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 808 sounds with much patience.
I was there when Holger Czukay 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 Notorious Big And Bone Thugs 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 Tears for Fears. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Morten Harket,
E-Dancer,
Section 25,
Rites of Spring,
Traffic Nightmare,
Das Ding,
Nico,
Interpol,
Mo-Dettes,
Thee Headcoats,
Absolute Body Control,
Ten City,
Quadrant,
The Peanut Butter Conspiracy,
Minnie Riperton,
Faraquet,
Nation of Ulysses,
T.S.O.L.,
Theoretical Girls,
The Selecter,
Art Ensemble Of Chicago,
Eric B and Rakim,
Young Marble Giants,
JFA,
Avey Tare & Kría Brekkan,
World's Most,
Harmonia,
Unwound,
Liliput,
Scan 7,
The Index,
Echospace,
Quantec,
Public Enemy,
The Fall,
The Move,
Kango’s Stein Massive,
the Fania All-Stars,
Janne Schatter,
Bluetip,
Mad Mike,
Eddi Front,
Rekid,
Ultra Naté,
Susan Cadogan,
Michelle Simonal,
Fort Wilson Riot,
Organ,
Hot Snakes,
Can,
Minny Pops,
The Barracudas,
Bill Wells,
Pantaleimon,
Gang Green,
Archie Shepp,
Joy Division,
It's A Beautiful Day,
Ultimate Spinach,
Robert Hood,
Loose Ends,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.