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 Seychelles and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 Detroit Cobras to the disco kids.
I played it at the Hacienda.
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 Lungfish. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Trojans,
James Chance & The Contortions,
Dead Boys,
Qualms,
Kas Product,
Quando Quango,
The Count Five,
Toni Rubio,
Interpol,
Soft Cell,
The Smiths,
The Moody Blues,
Throbbing Gristle,
The Smoke,
Art Ensemble Of Chicago,
The Electric Prunes,
Zapp,
Big Daddy Kane,
Peter Gordon & Love of Life Orchestra,
Echo & the Bunnymen,
the Slits,
The Blues Magoos,
The Durutti Column,
Rapeman,
James White and The Blacks,
Amazonics,
Marc Romboy vs. Booka Shade,
Dave Gahan,
Agitation Free,
The Vogues,
Pussy Galore,
Bob Dylan,
New Order,
Bronski Beat,
Bobby Sherman,
John Holt,
The Mojo Men,
Joy Division,
The Slits,
The Index,
De La Soul & Jungle Brothers,
Symarip,
Steve Hackett,
Joey Negro,
Henry Cow,
David McCallum,
KRS-One,
Loose Ends,
Magma,
Desert Stars,
Marshall Jefferson,
Charles Mingus,
Hasil Adkins,
Judy Mowatt,
Model 500,
Eyeless In Gaza,
Funkadelic,
Sunsets and Hearts,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.