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 Venezuela and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Cairo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Kings Of Tomorrow 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 Lizzy Mercier Descloux. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Sly & The Family Stone,
Amon Düül II,
Larry & the Blue Notes,
Lindisfarne,
Erykah Badu,
Absolute Body Control,
Al Stewart,
Ronan,
Saccharine Trust,
Pharoah Sanders,
Lonnie Liston Smith,
Lou Christie,
Sugar Minott,
Gong,
Animal Collective,
It's A Beautiful Day,
LL Cool J,
Marshall Jefferson,
Sixth Finger,
DeepChord presents Echospace,
Crash Course in Science,
Bauhaus,
Kas Product,
Reuben Wilson,
UT,
Jeff Lynne,
Vaughan Mason & Crew,
Ornette Coleman,
Steve Hackett,
Morten Harket,
La Düsseldorf,
Circle Jerks,
The Neon Judgement,
The Sonics,
Vainqueur,
Gil Scott-Heron & Brian Jackson,
Au Pairs,
Livin' Joy,
Eric Copeland,
The Gories,
Barry Ungar,
The Last Poets,
Popol Vuh,
Thinking Fellers Union Local 282,
Henry Cow,
Crooked Eye,
Ohio Players,
Cluster,
Wings,
T. Rex,
Parry Music,
Basic Channel,
Amon Düül,
Sandy B,
Suburban Knight,
Max Romeo,
Oppenheimer Analysis,
New Age Steppers,
A Certain Ratio,
Guru Guru,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.