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 Botswana and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Salvador 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 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 Young Marble Giants to the grime 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 Jacob Miller. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal rock 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Soulsonic Force,
Flamin' Groovies,
The Cowsills,
Lebanon Hanover,
Gregory Isaacs,
EPMD,
Siouxsie and the Banshees,
Nation of Ulysses,
Scan 7,
Joe Smooth,
Barclay James Harvest,
Carl Craig,
Nick Cave & The Bad Seeds,
The Toasters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
This Heat,
Marine Girls,
Country Joe & The Fish,
Lafayette Afro Rock Band,
The Mummies,
Dark Day,
Angels of Light & Akron/Family,
Guru Guru,
The Shadows of Knight,
Mandrill,
Pete Rock & C.L. Smooth,
The Standells,
Brothers Johnson,
Rosa Yemen,
Mad Mike,
Fifty Foot Hose,
The Alarm Clocks,
Gil Scott Heron,
Qualms,
Half Japanese,
Dual Sessions,
Aaron Thompson,
Johnny Clarke,
8 Eyed Spy,
the Germs,
Judy Mowatt,
Bobby Womack,
La Düsseldorf,
Nik Kershaw,
Todd Terry,
Faust,
A Certain Ratio,
Delon & Dalcan,
Wire,
the Swans,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
Essential Logic,
John Foxx,
Ohio Players,
Liaisons Dangereuses,
Andrew Ashong & Theo Parrish,
Bootsy Collins,
Darondo,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.