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 Mauritania and from Philadelphia.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Milan 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Men They Couldn't Hang to the grunge kids.
I played it at Cafe Wha.
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 Connie Case. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Gong,
Terror Squad Feat. Camron,
Ultra Naté,
Rhythim Is Rhythim,
Notorious BIG live in Amsterdam,
Cecil Taylor,
Rhythm & Sound,
These Immortal Souls,
Thinking Fellers Union Local 282,
The Doobie Brothers,
Faraquet,
Angry Samoans,
Pierre Henry,
Bad Manners,
Lalann,
Janne Schatter,
Clear Light,
Agent Orange,
Brass Construction,
John Foxx,
Reuben Wilson,
Moebius,
Audionom,
David Axelrod,
The Victims,
The Martian,
Lou Christie,
The Motions,
Monks,
Sixth Finger,
James White and The Blacks,
The Smoke,
Surgeon,
The Beau Brummels,
Donny Hathaway,
Jacob Miller,
Scan 7,
The Fortunes,
Symarip,
Rufus Thomas,
Archie Shepp,
Fluxion,
Crooked Eye,
Wighnomy Brothers & Robag Wruhme,
Roy Ayers Ubiquity,
Deakin,
Tres Demented,
DJ Sneak,
Ten City,
Can,
Camron Feat. Memphis Bleek And Beenie Seigel,
Major Organ And The Adding Machine,
Ronan,
Livin' Joy,
Magma,
Sällskapet,
Alphaville,
Silicon Teens,
Fat Boys,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.