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 Zambia and from Bologna.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Grandmaster Flash to the dance kids.
I played it at the Troubador.
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 Jacob Miller. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics 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?
EPMD,
cv313,
MDC,
Livin' Joy,
Public Image Ltd.,
Terror Squad Feat. Camron,
The Invisible,
Rites of Spring,
Dorothy Ashby,
Blossom Toes,
Matthew Bourne,
Glambeats Corp.,
Sad Lovers and Giants,
Rekid,
Tubeway Army,
Infiniti,
Magma,
Nico,
Tears for Fears,
Soft Machine,
Alice Coltrane,
Joe Finger,
Colin Newman,
The Kinks,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
Kings Of Tomorrow,
Jesper Dahlback,
The Star Department,
Make Up,
Kenny Larkin,
Sällskapet,
Harry Pussy,
Cecil Taylor,
The Evens,
Malaria!,
Alison Limerick,
David Bowie,
Jimmy McGriff,
The Sonics,
Deakin,
Ponytail,
Jeru the Damaja,
Con Funk Shun,
Avey Tare's Slasher Flicks,
CMW,
The Trojans,
The American Breed,
Juan Atkins,
Von Mondo,
Sex Pistols,
The Mojo Men,
Pharoah Sanders,
The Searchers,
Basic Channel,
Youth Brigade,
June Days,
Henry Cow,
Sarah Menescal,
Lalo Schifrin,
Glenn Branca,
Supertramp, Supertramp, Supertramp, Supertramp.
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.