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 Poland and from Columbus.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Portland 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 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 The Moleskins to the grunge kids.
I played it at CBGB's.
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 Camouflage. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Johnny Osbourne,
The Flesh Eaters,
Japan,
One Last Wish,
The Electric Prunes,
Isaac Hayes,
Cluster,
Chris & Cosey,
Magazine,
These Immortal Souls,
B.T. Express,
Bobby Womack,
Tommy Roe,
MDC,
Camberwell Now,
Lafayette Afro Rock Band,
The Gap Band,
Deakin,
Jacques Brel,
Gerry Rafferty,
Black Moon,
Icehouse,
Lightning Bolt,
China Crisis,
Kas Product,
The Gladiators,
Sun Ra,
Desert Stars,
Mark Hollis,
Pulsallama,
Bang On A Can,
Yellowson,
Todd Rundgren,
The Offenders,
Motorama,
Lyres,
Ajijia Myrayebe,
Depeche Mode,
Lower 48,
R.M.O.,
The Seeds,
Guru Guru,
Harpers Bizarre,
Derrick Morgan,
a-ha,
Nik Kershaw,
Nation of Ulysses,
Max Romeo,
The Last Poets,
Harry Pussy,
Scott Walker + Sunn O))),
Gregory Isaacs,
The Residents,
Rosa Yemen,
The Cowsills,
The Saints,
New York Dolls,
Bang on a Can All-Stars,
Swell Maps,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.