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 Spain and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Big Daddy Kane 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 Heaven 17. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Avey Tare & Kría Brekkan,
Leonard Cohen,
Underground Resistance,
Bronski Beat,
Pharoah Sanders,
Anthony Braxton,
Quadrant,
Ultra Naté,
Steve Hackett,
Popol Vuh,
Avey Tare's Slasher Flicks,
Glambeats Corp.,
Graham Central Station,
Dave Gahan,
Derrick Morgan,
Franke,
the Human League,
Black Moon,
Inner City,
Ornette Coleman,
Junior Murvin,
The Seeds,
Robert Görl,
Bootsy Collins,
Wally Richardson,
The Sound,
Sun Ra,
Peter and Kerry,
Sister Nancy,
Yusef Lateef,
Soulsonic Force,
The Jesus and Mary Chain,
Robert Wyatt,
Strawberry Alarm Clock,
Fluxion,
Con Funk Shun,
Agitation Free,
Pylon,
James Chance & The Contortions,
the Germs,
Archie Shepp,
Erykah Badu,
MC5,
the Association,
Ronan,
Alphaville,
Idris Muhammad,
Masters at Work,
Terry Callier,
The Saints,
One Last Wish,
Cymande,
Chrome,
The Wake,
Barbara Tucker,
Todd Rundgren,
Au Pairs,
Blake Baxter,
Gastr Del Sol,
Wolf Eyes,
Amazonics, Amazonics, Amazonics, Amazonics.
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.