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 Ethiopia and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Monolake 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 Flash Fearless. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
The Victims,
Bobby Byrd,
Zapp,
Suicide,
Bang on a Can All-Stars,
Lee Hazlewood,
Morten Harket,
La Düsseldorf,
Gang Starr,
Mr. Review,
Rowland S Howard / Lydia Lunch,
Drive Like Jehu,
MC5,
Slick Rick,
Arcadia,
Danielle Patucci,
John Holt,
Kauko Röyhkä ja Narttu,
Kayak,
Derrick Morgan,
Isaac Hayes,
Lindisfarne,
Cabaret Voltaire,
Nico,
Kool Moe Dee,
Angels of Light & Akron/Family,
Masters at Work,
The Monks,
The Names,
8 Eyed Spy,
Deadbeat,
Gian Franco Pienzio,
Sun City Girls,
Pylon,
Technova,
Crash Course in Science,
Dorothy Ashby,
Marine Girls,
Metal Thangz,
Man Eating Sloth,
The Young Rascals,
The Jesus and Mary Chain,
Moebius,
Kevin Saunderson,
Swell Maps,
Art Ensemble Of Chicago,
Harmonia,
Gang Gang Dance,
Michelle Simonal,
the Soft Cell,
Black Bananas,
Super Lover Cee & Casanova Rud,
Avey Tare's Slasher Flicks,
Avey Tare & Kría Brekkan,
The Busters,
The Blues Magoos,
Roy Ayers Ubiquity,
Donny Hathaway,
Sällskapet,
Eurythmics,
Nils Olav,
Jeru the Damaja,
Index,
Marmalade, Marmalade, Marmalade, Marmalade.
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.