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 Mauritania and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Stockholm 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 organ sounds with much patience.
I was there when David Bowie 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 Jeff Mills to the crunk 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 Leonard Cohen. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
New York Dolls,
Bootsy's Rubber Band,
Mr. Review,
Siouxsie and the Banshees,
Anthony Braxton,
Bronski Beat,
The Seeds,
La Düsseldorf,
Warren Ellis,
Depeche Mode,
Joe Smooth,
Lalann,
Q and Not U,
Steve Hackett,
Peter & Gordon,
Jeff Lynne,
Kango’s Stein Massive,
LL Cool J,
Louis and Bebe Barron,
Loose Ends,
Ralphi Rosario,
The Gun Club,
Johnny Clarke,
The Mighty Diamonds,
Black Flag,
London Community Gospel Choir,
Hoover,
Parry Music,
Maleditus Sound,
Delta 5,
The Index,
The Mojo Men,
Jacques Brel,
Little Man,
Fugazi,
Selector Dub Narcotic,
Skriet,
Fatback Band,
Marshall Jefferson,
Scott Walker,
Franke,
Thee Headcoats,
Stiv Bators,
Mark Hollis,
Justin Hinds & The Dominoes,
Gang Green,
The Walker Brothers,
Half Japanese,
Supertramp,
John Holt,
Buzzcocks,
Brass Construction,
The Last Poets,
Brick,
Bobby Womack,
Panda Bear,
The Selecter,
The Motions,
Echospace,
Public Image Ltd.,
The Leaves,
Sister Nancy,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.