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 Cameroon and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1975.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school London 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 spring reverb 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 Aural Exciters to the grime kids.
I played it at the Roxy.
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 D'Angelo. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grime 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Inner City,
Kool Moe Dee,
Rekid,
The Durutti Column,
Toni Rubio,
Captain Beefheart & His Magic Band,
The Angels of Light,
Davy DMX,
De La Soul & Jungle Brothers,
Tropical Tobacco,
The Knickerbockers,
The Sound,
Duran Duran,
The Associates,
Q65,
The J.B.'s,
Rakim,
Saccharine Trust,
Rhythim Is Rhythim,
Jerry Gold Smith,
Hashim,
Silicon Teens,
Guru Guru,
the Bar-Kays,
The Real Kids,
Darondo,
Bootsy Collins,
Dave Gahan,
Peter & Gordon,
The Leaves,
The Smoke,
The Walker Brothers,
Gabor Szabo,
The Blackbyrds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rapeman,
Ultra Naté,
MC5,
Drexciya,
Suicide,
Kool G Rap & DJ Polo,
Heaven 17,
London Community Gospel Choir,
Kevin Saunderson,
The Barracudas,
Adolescents,
Deutsch Amerikanische Freundschaft,
The Doobie Brothers,
Glambeats Corp.,
The Golliwogs,
The Fuzztones,
Bobbi Humphrey,
Traffic Nightmare,
The Count Five,
China Crisis,
Animal Collective,
The Black Dice,
Amon Düül II,
Liliput,
The Kinks,
Dawn Penn,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.