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 Switzerland and from Paris.
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 1962 to 1977.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 The Cowsills to the techno kids.
I played it at the Spitz.
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 Brass Construction. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Cheater Slicks,
Donny Hathaway,
Japan,
Cecil Taylor,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Normal,
Scion,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Pop Group,
The Young Rascals,
Ultimate Spinach,
It's A Beautiful Day,
Sunsets and Hearts,
Franke,
Charles Mingus,
Depeche Mode,
The Detroit Cobras,
the Human League,
Albert Ayler,
Jesper Dahlbäck,
The Motions,
London Community Gospel Choir,
Tim Buckley,
Carl Craig,
Gichy Dan,
Colin Newman,
Shuggie Otis,
Terry Callier,
The Fugs,
Fat Boys,
Soul II Soul,
The Blackbyrds,
Robert Hood,
U.S. Maple,
Bobby Womack,
Easy Going,
Throbbing Gristle,
Barbara Tucker,
Mad Mike,
T.S.O.L.,
Letta Mbulu,
Justin Hinds & The Dominoes,
The Fire Engines,
Bronski Beat,
The Grass Roots,
Moss Icon,
Black Moon,
Don Cherry,
The Seeds,
Qualms,
Funky Four + One,
Bluetip,
the Sonics,
T. Rex,
Piero Umiliani,
Quantec,
Minutemen,
Aural Exciters,
Siouxsie and the Banshees,
Bobby Hutcherson,
AZ, AZ, AZ, AZ.
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.