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 Senegal and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 snare sounds with much patience.
I was there when David Bowie 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 Stetsasonic to the crunk 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 Andrew Hill. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Ken Boothe,
Junior Murvin,
Tropical Tobacco,
Barbara Tucker,
New York Dolls,
Erasure,
The Human League,
Wally Richardson,
Gastr Del Sol,
Big Daddy Kane,
Maleditus Sound,
Pet Shop Boys,
Grandmaster Flash,
KRS-One,
The Five Americans,
David Axelrod,
Sarah Menescal,
FM Einheit,
Pantytec,
Sad Lovers and Giants,
Piero Umiliani,
ABBA,
The Litter,
Frankie Knuckles,
Alice Coltrane,
Sparks,
Letta Mbulu,
Spandau Ballet,
Von Mondo,
Eyeless In Gaza,
Blake Baxter,
Mo-Dettes,
Gang Starr,
The Cure,
Bill Near,
Sugar Minott,
Art Ensemble Of Chicago,
Duran Duran,
Sonny Sharrock,
Wings,
Bush Tetras,
Procol Harum,
Fela Kuti,
Kenny Larkin,
the Association,
Roger Hodgson,
Darondo,
The Gladiators,
The Moleskins,
Infiniti,
Sound Behaviour,
The Standells,
Khruangbin,
Kerrie Biddell,
Pagans,
Major Organ And The Adding Machine,
Jerry's Kids,
Pete Rock & C.L. Smooth,
Slave,
Stockholm Monsters,
Country Teasers,
Kevin Saunderson,
Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel.
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.