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 Moldova and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Spokane 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 Holger Czukay 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 Fat Boys to the funk 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 Nico. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
The Litter,
Camberwell Now,
Chris & Cosey,
Main Source,
Kerri Chandler,
R.M.O.,
Q and Not U,
Joy Division,
The Monochrome Set,
Masters at Work,
Sarah Menescal,
James White and The Blacks,
John Cale,
Don Cherry,
New York Dolls,
Porter Ricks,
Minny Pops,
Marine Girls,
Barry Ungar,
Little Man,
the Fania All-Stars,
Justin Hinds & The Dominoes,
Eurythmics,
Alphaville,
Bob Dylan,
The Count Five,
Franke,
Bush Tetras,
LL Cool J,
Visionaries,LMNO, T- Love & Iriscience,
Negative Approach,
Ajijia Myrayebe,
Bobbi Humphrey,
Byron Stingily,
Black Flag,
Peter Gordon & Love of Life Orchestra,
David Axelrod,
Brick,
Cybotron,
the Sonics,
Thee Headcoats,
Davy DMX,
Lebanon Hanover,
Pere Ubu,
Yellowson,
Lalo Schifrin,
Gong,
Eric Dolphy,
Ohio Players,
Notorious BIG live in Amsterdam,
the Normal,
Arthur Verocai,
cv313,
Rod Modell,
Bad Manners,
Infiniti,
The Skatalites,
Public Enemy,
Marcia Griffiths,
The Five Americans,
Stereo Dub,
Whodini,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.