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 Belize and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Lyon 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 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 Funky Four + One to the techno 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 New Age Steppers. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Stetsasonic 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Echospace,
Tears for Fears,
A Flock of Seagulls,
Mandrill,
Groovy Waters,
Ronnie Foster,
Strawberry Alarm Clock,
Sexual Harrassment,
Ralphi Rosario,
The Chocolate Watch Band,
Lou Reed,
Skriet,
Pierre Henry,
Michelle Simonal,
Joensuu 1685,
Public Image Ltd.,
Dual Sessions,
Grandmaster Flash,
Easy Going,
The Count Five,
The Raincoats,
Tim Buckley,
Pharaoh Sanders and the Fire Engines,
The Sisters of Mercy,
Siglo XX,
This Heat,
Kool G Rap & DJ Polo,
Lucky Dragons,
Slave,
Wire,
Liliput,
MDC,
Qualms,
The Flesh Eaters,
De La Soul & Jungle Brothers,
Flash Fearless,
Blake Baxter,
Althea and Donna,
Ohio Players,
Marshall Jefferson,
ABBA,
Heavy D & The Boyz,
Kauko Röyhkä ja Narttu,
Sun Ra Arkestra,
Gang Green,
The Last Poets,
Cecil Taylor,
The Selecter,
The Doors,
Lou Christie,
The Martian,
It's A Beautiful Day,
Lyres,
Popol Vuh,
Sarah Menescal,
Unrelated Segments,
Bob Dylan,
Rhythm & Sound,
Teenage Jesus and the Jerks,
Kenny Larkin,
Au Pairs,
The Kinks, The Kinks, The Kinks, The Kinks.
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.