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 New Zealand and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Sam Rivers to the rap kids.
I played it at the Hacienda.
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 Au Pairs. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Jimmy McGriff,
Swell Maps,
Moss Icon,
Adolescents,
Banda Bassotti,
The Raincoats,
Pere Ubu,
De La Soul & Jungle Brothers,
Ultra Naté,
Graham Central Station,
Matthew Bourne,
Blake Baxter,
Godley & Creme,
Gang Starr,
Metal Thangz,
Model 500,
Nils Olav,
Richard Hell and the Voidoids,
Freddie Wadling,
The Alarm Clocks,
Shoche,
Hashim,
Zapp,
The Beau Brummels,
8 Eyed Spy,
Electric Light Orchestra,
Reuben Wilson,
Man Parrish,
The Toasters,
Roy Ayers Ubiquity,
48th St. Collective,
Public Enemy,
Captain Beefheart & His Magic Band,
PIL,
Marshall Jefferson,
Von Mondo,
Infiniti,
Ornette Coleman,
Ohio Players,
Heaven 17,
Buzzcocks,
Ultimate Spinach,
D'Angelo,
Wire,
New York Dolls,
Make Up,
The Last Poets,
Stetsasonic,
Stereo Dub,
Lizzy Mercier Descloux,
E-Dancer,
The Associates,
Parry Music,
Neu!,
Smog,
Ossler,
the Sonics,
Leonard Cohen,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.