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 Angola and from Seoul.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 China Crisis to the grime 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 Sandy B. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Lou Reed 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Supertramp,
The Chocolate Watch Band,
the Swans,
Brothers Johnson,
Magma,
cv313,
Barbara Tucker,
Fluxion,
Rhythim Is Rhythim,
Marshall Jefferson,
Jeff Mills,
Skarface,
Pussy Galore,
Mars,
The Cramps,
Donny Hathaway,
The Durutti Column,
E-Dancer,
Y Pants,
The Doors,
The Fire Engines,
CMW,
Thompson Twins,
Eric B and Rakim,
Larry & the Blue Notes,
Reuben Wilson,
L. Decosne,
Urselle,
Nik Kershaw,
the Soft Cell,
The Vogues,
Alison Limerick,
Roy Ayers Ubiquity,
Oppenheimer Analysis,
Black Bananas,
Sixth Finger,
Altered Images,
Bob Dylan,
One Last Wish,
Sandy B,
Livin' Joy,
Max Romeo,
Ultra Naté,
Unrelated Segments,
Rufus Thomas,
Intrusion,
The West Coast Pop Art Experimental Band,
Average White Band,
Bill Near,
Ken Boothe,
The Seeds,
Outsiders,
Radiopuhelimet,
Shuggie Otis,
Stiv Bators,
Echospace,
Wire,
The Divine Comedy,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.