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 Ukraine and from Jakarta.
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 1979.
I'm losing my edge.
To all the kids in Paris and Bologna.
I'm losing my edge to the art-school Accra 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Andrew Ashong & Theo Parrish to the punk 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 Simply Red. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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?
X-102,
Anakelly,
Niagra,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Talk Talk,
Magazine,
Groovy Waters,
Brick,
Theoretical Girls,
Rhythm & Sound,
Lou Reed,
Dennis Brown,
Lyres,
James White and The Blacks,
Charles Mingus,
Bob Dylan,
Larry & the Blue Notes,
World's Most,
Andrew Hill,
Sarah Menescal,
Los Fastidios,
Gong,
The American Breed,
Crispy Ambulance,
Orchestral Manoeuvres in the Dark,
Nation of Ulysses,
Unrelated Segments,
Ponytail,
Au Pairs,
The Remains,
Donald Byrd,
Accadde A,
Kevin Saunderson,
Arcadia,
Gian Franco Pienzio,
Marmalade,
Cybotron,
Terrestrial Tones,
ABBA,
Ten City,
Traffic Nightmare,
The Sisters of Mercy,
Richard Hell and the Voidoids,
Desert Stars,
Cecil Taylor,
Country Teasers,
Flipper,
Technova,
the Germs,
Notorious Big And Bone Thugs,
The Durutti Column,
Bootsy Collins,
Fela Kuti,
Ossler,
The Jesus and Mary Chain,
K-Klass,
Siglo XX,
Stockholm Monsters,
The Wake, The Wake, The Wake, The Wake.
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.