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 Congo and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Godley & Creme to the dance 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 Royal Trux. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Quantec,
Brick,
These Immortal Souls,
Avey Tare's Slasher Flicks,
The Leaves,
Radiohead,
Infiniti,
Metal Thangz,
Thee Headcoats,
Joe Smooth,
James White and The Blacks,
Symarip,
Jerry's Kids,
The Men They Couldn't Hang,
Anthony Braxton,
Scion,
Depeche Mode,
David Axelrod,
Toni Rubio,
Desert Stars,
DJ Style,
Eli Mardock,
The American Breed,
Electric Light Orchestra,
Lou Christie,
The Names,
Wighnomy Brothers & Robag Wruhme,
The Saints,
Bobby Womack,
Altered Images,
Marc Romboy vs. Booka Shade,
AZ,
Dark Day,
Ronan,
Oppenheimer Analysis,
Visage,
Bronski Beat,
Andrew Ashong & Theo Parrish,
Kool Moe Dee,
Public Enemy,
Pharoah Sanders,
Charles Mingus,
Minutemen,
Avey Tare & Kría Brekkan,
A Certain Ratio,
Slave,
Glambeats Corp.,
Cymande,
The Walker Brothers,
Con Funk Shun,
Gil Scott Heron,
Ponytail,
The Techniques,
cv313,
Yusef Lateef,
Teenage Jesus and the Jerks,
Erykah Badu,
Main Source,
Bad Manners,
Hashim,
Connie Case,
Lalann,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.