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 Gambia and from Cairo.
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 1974.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Paris 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 Fela Kuti to the punk kids.
I played it at Trash.
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 The Mojo Men. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Khruangbin,
The Fortunes,
It's A Beautiful Day,
Josef K,
JFA,
Eric Dolphy,
Scion,
Suicide,
Deakin,
Camron Feat. Jay Z And Juelz,
Radiopuhelimet,
Kurtis Blow,
Strawberry Alarm Clock,
Joensuu 1685,
The Leaves,
Gang of Four,
Electric Prunes,
Man Parrish,
John Holt,
Organ,
Jimmy McGriff,
Max Romeo,
Cal Tjader,
Spandau Ballet,
Justin Hinds & The Dominoes,
Stockholm Monsters,
Major Organ And The Adding Machine,
Pharaoh Sanders and the Fire Engines,
Avey Tare & Kría Brekkan,
The Moleskins,
Malaria!,
Robert Wyatt,
Procol Harum,
Soulsonic Force,
Sad Lovers and Giants,
Colin Newman,
Loose Ends,
Kevin Saunderson,
10cc,
The Angels of Light,
Black Flag,
Skriet,
Eden Ahbez,
Supertramp,
Mars,
The Mojo Men,
Rotary Connection,
Jerry Gold Smith,
Eric B and Rakim,
Manfred Mann's Earth Band,
The Smiths,
The Beau Brummels,
The Black Dice,
A Certain Ratio,
Al Stewart,
Howard Jones,
The Selecter,
Das Ding,
Delon & Dalcan,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.