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 India and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Beijing and Madrid.
I'm losing my edge to the art-school Winnipeg 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 synthesizer 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 The Offenders to the disco kids.
I played it at the Troubador.
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 Aswad. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 United States of America,
Bootsy Collins,
ABBA,
Michelle Simonal,
Scion,
The Doors,
Minny Pops,
Lee Hazlewood,
The Real Kids,
Oneida,
Deakin,
La Düsseldorf,
Gong,
Wings,
The Gap Band,
Grey Daturas,
Easy Going,
Urselle,
Traffic Nightmare,
Mark Hollis,
Youth Brigade,
The Black Dice,
The Invisible,
Sister Nancy,
Avey Tare,
Colin Newman,
The Barracudas,
Robert Wyatt,
Lindisfarne,
Bluetip,
Justin Hinds & The Dominoes,
Marshall Jefferson,
Minnie Riperton,
Roger Hodgson,
Vaughan Mason & Crew,
Smog,
Gil Scott Heron,
Monks,
Cecil Taylor,
Kings Of Tomorrow,
the Swans,
Tropical Tobacco,
Slave,
China Crisis,
Soul II Soul,
Babytalk,
Pierre Henry,
Bang on a Can All-Stars,
The Trojans,
Jeff Mills,
The Beau Brummels,
Bang On A Can,
The Litter,
Carl Craig,
Lou Christie,
Qualms,
Red Lorry Yellow Lorry,
Connie Case,
The Associates,
Rakim,
Mars, Mars, Mars, Mars.
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.