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 Antigua and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school New York 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 sitar sounds with much patience.
I was there when Lou Reed 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 Country Joe & The Fish to the funk 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 Arthur Verocai. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Siglo XX 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 '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Oneida,
Pulsallama,
The Monochrome Set,
James Chance & The Contortions,
Qualms,
Pharaoh Sanders and the Fire Engines,
The Gap Band,
Gil Scott Heron,
Frankie Knuckles,
Groovy Waters,
B.T. Express,
Symarip,
Whodini,
Cameo,
Ronan,
Hoover,
the Bar-Kays,
Suburban Knight,
DNA,
Terry Callier,
Radio Birdman,
Kenny Larkin,
Spandau Ballet,
Gary Puckett & The Union Gap,
Bootsy Collins,
Bluetip,
Alton Ellis,
Danielle Patucci,
Camouflage,
Gabor Szabo,
Sonny Sharrock,
The Royal Family And The Poor,
Dr. Dre and Snoop Doggy Dog,
Graham Central Station,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Offenders,
Joe Smooth,
Sarah Menescal,
The Selecter,
Section 25,
Con Funk Shun,
Arab on Radar,
Mr. Review,
Thee Headcoats,
Fad Gadget,
Agent Orange,
Lalo Schifrin,
OOIOO,
Bush Tetras,
The Alarm Clocks,
Fatback Band,
Bronski Beat,
World's Most,
Rosa Yemen,
The Real Kids,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ornette Coleman,
Average White Band,
Quadrant,
Lebanon Hanover,
The Standells,
Monks, Monks, Monks, Monks.
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.