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 China and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Beijing 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Major Organ And The Adding Machine to the punk kids.
I played it at the Roxy.
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 The Skatalites. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Interpol,
Joyce Sims,
AZ,
Skaos,
Idris Muhammad,
Agitation Free,
Barclay James Harvest,
Echospace,
Television,
Sad Lovers and Giants,
Saccharine Trust,
John Coltrane,
Spoonie Gee,
Avey Tare's Slasher Flicks,
Roger Hodgson,
Joey Negro,
Angry Samoans,
China Crisis,
Second Layer,
Surgeon,
Hoover,
T. Rex,
Con Funk Shun,
Ajijia Myrayebe,
Matthew Bourne,
Franke,
Camron Feat. Jay Z And Juelz,
Desert Stars,
The Raincoats,
The Divine Comedy,
Livin' Joy,
Soul II Soul,
Khruangbin,
Half Japanese,
Isaac Hayes,
Fad Gadget,
Stockholm Monsters,
Derrick Morgan,
Donald Byrd,
Monolake,
Sun Ra Arkestra,
Oblivians,
Dorothy Ashby,
The Birthday Party,
Gang Starr,
Mantronix,
ABBA,
Underground Resistance,
Freddie Wadling,
Spandau Ballet,
Hot Snakes,
The Flesh Eaters,
Hasil Adkins,
Rhythm & Sound,
Faust,
Larry & the Blue Notes,
Avey Tare & Kría Brekkan,
Henry Cow,
Jesper Dahlbäck,
Pete Rock & C.L. Smooth,
Crime,
The Remains,
Gerry Rafferty,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.