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 Malawi and from Portland.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Paris 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Quantec to the dance kids.
I played it at the Astoria.
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 Angels of Light & Akron/Family. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Bob Dylan 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Kurtis Blow,
The United States of America,
Robert Wyatt,
The Kinks,
R.M.O.,
Brick,
the Sonics,
Kool Moe Dee,
Boogie Down Productions,
The Moody Blues,
Can,
Marcia Griffiths,
Underground Resistance,
Shuggie Otis,
Amazonics,
Dennis Brown,
Pussy Galore,
Sonic Youth,
Hashim,
Electric Light Orchestra,
Stiv Bators,
K-Klass,
Gil Scott Heron,
The Saints,
Grauzone,
Toni Rubio,
Ash Ra Tempel,
The Cure,
Rekid,
Spandau Ballet,
Agent Orange,
Echo & the Bunnymen,
Michelle Simonal,
Captain Beefheart & His Magic Band,
Nils Olav,
Fort Wilson Riot,
Animal Collective,
Audionom,
Scientists,
the Association,
Television Personalities,
Soft Machine,
Teenage Jesus and the Jerks,
Johnny Osbourne,
The Dirtbombs,
UT,
Suicide,
Fluxion,
Mo-Dettes,
Aswad,
Quadrant,
Avey Tare & Kría Brekkan,
Gerry Rafferty,
Spoonie Gee,
Brothers Johnson,
Sad Lovers and Giants,
Scratch Acid,
The Doobie Brothers,
Soul II Soul,
The Invisible, The Invisible, The Invisible, The Invisible.
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.