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 Greece and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
I'm losing my edge to the art-school Salvador 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Nico to the techno 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 Avey Tare. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Tom Boy,
The Monochrome Set,
Peter & Gordon,
Procol Harum,
Nik Kershaw,
Fifty Foot Hose,
Chrome,
Saccharine Trust,
Khruangbin,
Avey Tare's Slasher Flicks,
Gichy Dan,
Loose Ends,
The Black Dice,
MDC,
Matthew Halsall,
Negative Approach,
Arcadia,
Visionaries,LMNO, T- Love & Iriscience,
The Cramps,
Sight & Sound,
Newcleus,
the Association,
Johnny Clarke,
Animal Collective,
Funky Four + One,
Super Lover Cee & Casanova Rud,
Gang of Four,
Half Japanese,
Magma,
Ken Boothe,
Crime,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
X-102,
Judy Mowatt,
Deepchord,
E-Dancer,
Liliput,
Eric B and Rakim,
Theoretical Girls,
Hashim,
Skaos,
The Searchers,
Cybotron,
Nico,
Rod Modell,
A Certain Ratio,
Mandrill,
Pulsallama,
Grey Daturas,
Shuggie Otis,
Kaleidoscope,
Tim Buckley,
Arthur Verocai,
Louis and Bebe Barron,
Reuben Wilson,
Archie Shepp,
Davy DMX,
Prince Buster,
Black Bananas,
Orchestral Manoeuvres in the Dark,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.