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 Bulgaria and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
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 sitar sounds with much patience.
I was there when Robert Palmer 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 Rakim to the punk 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 EPMD. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
The Raincoats,
The Fuzztones,
Idris Muhammad,
Mark Hollis,
The Sound,
Soulsonic Force,
Newcleus,
Sarah Menescal,
Harpers Bizarre,
Camron Feat. Memphis Bleek And Beenie Seigel,
Index,
Cluster,
Erykah Badu,
Sparks,
Theoretical Girls,
Be Bop Deluxe,
Public Image Ltd.,
Andrew Ashong & Theo Parrish,
Crash Course in Science,
Avey Tare & Kría Brekkan,
The Birthday Party,
Icehouse,
Alphaville,
Nirvana,
Connie Case,
Organ,
Cymande,
Dark Day,
Eric Copeland,
Peter and Kerry,
Country Teasers,
Electric Prunes,
Roy Ayers Ubiquity,
Bang On A Can,
Robert Hood,
Mad Mike,
Terry Callier,
Roy Ayers,
Cabaret Voltaire,
Al Stewart,
Dual Sessions,
Fugazi,
The Fall,
London Community Gospel Choir,
Accadde A,
Black Sheep,
Kango’s Stein Massive,
Young Marble Giants,
Funky Four + One,
Fatback Band,
Albert Ayler,
Black Pus,
Drive Like Jehu,
Liliput,
Jawbox,
Major Organ And The Adding Machine,
Adolescents,
The Motions,
DNA,
Bill Wells,
The Young Rascals,
10cc,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.