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 India and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Portland 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 mellotron 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 Derrick Morgan 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Scrapy,
Carl Craig,
The Dave Clark Five,
Albert Ayler,
Lalo Schifrin,
Chrome,
The Techniques,
Lungfish,
Jacob Miller,
Wolf Eyes,
ABC,
Kerri Chandler,
Mr. Review,
Nico,
Television,
Crooked Eye,
Visionaries,LMNO, T- Love & Iriscience,
Funkadelic,
R.M.O.,
Max Romeo,
MC5,
The Cramps,
Public Image Ltd.,
The Mojo Men,
Andrew Ashong & Theo Parrish,
Pharaoh Sanders and the Fire Engines,
Soft Cell,
Bizarre Inc.,
Mark Hollis,
Rufus Thomas,
Wally Richardson,
Sun Ra Arkestra,
The Dirtbombs,
Be Bop Deluxe,
Parry Music,
Gian Franco Pienzio,
Zero Boys,
Minny Pops,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
New York Dolls,
Notorious BIG live in Amsterdam,
Oneida,
Strawberry Alarm Clock,
London Community Gospel Choir,
James White and The Blacks,
The Shadows of Knight,
Harry Pussy,
Ajijia Myrayebe,
The Skatalites,
Barclay James Harvest,
Suburban Knight,
Man Parrish,
Zapp,
KRS-One,
John Lydon,
Pete Rock & C.L. Smooth,
Fela Kuti,
Rakim,
Maurizio,
Crispy Ambulance,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.