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 Russia and from Columbus.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Marc Almond to the jazz kids.
I played it at the 40 Watt.
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 Yusef Lateef. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '70s cut and another box set from the '90s.
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 Sexual Harrassment record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Glambeats Corp.,
Arab on Radar,
Tubeway Army,
Barrington Levy,
The Smoke,
Grey Daturas,
KRS-One,
Aural Exciters,
Quando Quango,
Bill Near,
The United States of America,
Anakelly,
The Neon Judgement,
The Fuzztones,
Main Source,
Fear,
Gil Scott Heron,
Niagra,
Fifty Foot Hose,
Eyeless In Gaza,
Darondo,
Connie Case,
The Real Kids,
T. Rex,
Symarip,
Eve St. Jones,
The Star Department,
Rufus Thomas,
Gil Scott-Heron and Jamie xx,
T.S.O.L.,
Anthony Braxton,
The Sound,
Yaz,
Scratch Acid,
Pagans,
Rakim,
Arthur Verocai,
Negative Approach,
Todd Rundgren,
Sparks,
JFA,
Mission of Burma,
Masters at Work,
Crooked Eye,
Warren Ellis,
Avey Tare,
Sight & Sound,
Popol Vuh,
New Age Steppers,
Brass Construction,
Franke,
N.O.R.E. Featuring Pharrell,
The Modern Lovers,
Radiopuhelimet,
John Foxx,
The Count Five,
Supertramp,
Andrew Ashong & Theo Parrish,
Aswad,
Cabaret Voltaire,
Moebius,
Scott Walker + Sunn O))),
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.