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 Haiti and from Sao Paulo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Rapeman to the crunk 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 Roxette. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Bobby Byrd,
Sparks,
Beasts of Bourbon,
Flash Fearless,
Radiohead,
Talk Talk,
Echospace,
Orchestral Manoeuvres in the Dark,
Goldenarms,
Crispian St. Peters,
Scion,
Section 25,
Cal Tjader,
Nas,
Kayak,
Aswad,
X-102,
Gang Starr,
The Smiths,
Stetsasonic,
The Stooges,
The Buckinghams,
The Pop Group,
Bauhaus,
Unrelated Segments,
Joe Finger,
Royal Trux,
Siglo XX,
Marcia Griffiths,
Swans,
Flipper,
Bill Wells,
Jawbox,
London Community Gospel Choir,
A Certain Ratio,
Brass Construction,
Barclay James Harvest,
Basic Channel,
Erasure,
The Peanut Butter Conspiracy,
Boogie Down Productions,
The Human League,
Lucky Dragons,
Eden Ahbez,
Red Lorry Yellow Lorry,
Alphaville,
Jerry's Kids,
Soul II Soul,
The Busters,
Eric Copeland,
Gang Gang Dance,
Con Funk Shun,
Arcadia,
Terry Callier,
Sonny Sharrock,
Faust,
David McCallum,
Letta Mbulu,
Little Man,
Pere Ubu,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.