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 Dominican Republic and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Edmonton and Beijing.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Fatback Band to the disco 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 Fatback Band. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
The Standells,
Technova,
Nas,
H. Thieme,
Graham Central Station,
Joensuu 1685,
Deadbeat,
Piero Umiliani,
Rhythm & Sound,
Juan Atkins,
Nation of Ulysses,
Soft Cell,
Suburban Knight,
The Monks,
Lucky Dragons,
James Chance & The Contortions,
James White and The Blacks,
Warren Ellis,
Soul II Soul,
Brand Nubian,
Zero Boys,
Ronan,
Wolf Eyes,
Lou Reed & Metallica,
Jimmy McGriff,
Liliput,
Don Cherry,
Kauko Röyhkä ja Narttu,
The Gun Club,
Sixth Finger,
Neu!,
AZ,
John Lydon,
Tubeway Army,
Wings,
Gang of Four,
The Star Department,
Underground Resistance,
Röyhkä ja Rättö ja Lehtisalo,
Audionom,
Electric Light Orchestra,
Althea and Donna,
Lou Reed,
Nick Cave & The Bad Seeds,
Bootsy Collins,
Pussy Galore,
The Raincoats,
MDC,
The Fugs,
Curtis Mayfield,
Scion,
Pole,
Shoche,
New Age Steppers,
Joe Finger,
Camron Feat. Jay Z And Juelz,
Art Ensemble Of Chicago,
Leonard Cohen,
Bauhaus,
Sarah Menescal,
Gang Gang Dance,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.