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 Seychelles and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Calgary and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 The Red Krayola to the techno 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 The Men They Couldn't Hang. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Ohio Players,
Saccharine Trust,
Funkadelic,
UT,
Slave,
Vladislav Delay,
Kevin Saunderson,
Black Pus,
The Monochrome Set,
Nas,
kango's stein massive,
Michelle Simonal,
Bizarre Inc.,
Tomorrow,
World's Most,
Captain Beefheart & His Magic Band,
Chris Corsano,
The Sound,
Laurel Aitken,
Rakim,
Gichy Dan,
The Offenders,
The Pop Group,
Red Lorry Yellow Lorry,
Excepter,
Quantec,
John Lydon,
Pantytec,
Kayak,
Groovy Waters,
Public Image Ltd.,
A Certain Ratio,
Sandy B,
Rhythm & Sound,
Cameo,
Howard Jones,
Ossler,
Unrelated Segments,
Robert Hood,
Pere Ubu,
The Monks,
David Axelrod,
Marmalade,
Agitation Free,
The Pretty Things,
Kaleidoscope,
Sun Ra Arkestra,
Siglo XX,
Camberwell Now,
Judy Mowatt,
The Martian,
Frankie Knuckles,
Lou Reed & Metallica,
Magazine,
Junior Murvin,
Negative Approach,
Sällskapet,
Jerry's Kids,
Funky Four + One,
Camouflage,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.