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 Tajikistan and from Salvador.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Groovy Waters to the dance 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 Man Eating Sloth. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a snare 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 synthesizer.
I hear that you and your band have sold your synthesizer 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?
Amazonics,
the Fania All-Stars,
Selector Dub Narcotic,
Rod Modell,
Peter and Kerry,
Rowland S Howard / Lydia Lunch,
Pantytec,
Archie Shepp,
Bad Manners,
Althea and Donna,
Glambeats Corp.,
Yazoo,
Bob Dylan,
Oppenheimer Analysis,
The Happenings,
The Sonics,
Rhythm & Sound,
Marcia Griffiths,
Tropical Tobacco,
The Trojans,
Organ,
Soulsonic Force,
The Fall,
Harmonia,
Gichy Dan,
The Victims,
The Stooges,
Kango’s Stein Massive,
The Men They Couldn't Hang,
Barrington Levy,
B.T. Express,
Letta Mbulu,
Idris Muhammad,
Television Personalities,
Ituana,
Shuggie Otis,
Make Up,
Morten Harket,
Davy DMX,
Funkadelic,
Fluxion,
New York Dolls,
Moby Grape,
Strawberry Alarm Clock,
Lungfish,
Bizarre Inc.,
Gil Scott Heron,
Jimmy McGriff,
The Toasters,
Smog,
Drive Like Jehu,
Angels of Light & Akron/Family,
Stiv Bators,
LL Cool J,
Vladislav Delay,
Robert Görl,
The Gap Band,
Todd Rundgren,
Bluetip,
Franke,
Fugazi,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.