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 Vanuatu and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Bologna 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 The Chocolate Watch Band to the grime kids.
I played it at the Crocodile.
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 The Blues Magoos. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine 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?
Rufus Thomas,
Alton Ellis,
Rowland S Howard / Lydia Lunch,
The Sonics,
R.M.O.,
Andrew Hill,
The Fall,
The Move,
Schoolly D,
Moby Grape,
Grandmaster Flash,
Michelle Simonal,
Nas,
Interpol,
Bad Manners,
Notorious Big And Bone Thugs,
Shoche,
Funkadelic,
U.S. Maple,
Thee Headcoats,
Electric Prunes,
the Bar-Kays,
Barrington Levy,
Liaisons Dangereuses,
Pulsallama,
The Offenders,
Scott Walker,
Mad Mike,
kango's stein massive,
The Smiths,
Selector Dub Narcotic,
The Star Department,
48th St. Collective,
Das Ding,
Tom Boy,
The Leaves,
Roger Hodgson,
Captain Beefheart & His Magic Band,
The Motions,
Dawn Penn,
Sandy B,
Cal Tjader,
Alice Coltrane,
Alison Limerick,
Sällskapet,
UT,
Jesper Dahlbäck,
The Fuzztones,
Slick Rick,
Cameo,
Absolute Body Control,
The Beau Brummels,
Gang Starr,
Barclay James Harvest,
Brothers Johnson,
Gil Scott-Heron and Jamie xx,
Minnie Riperton,
Circle Jerks,
Nation of Ulysses,
Ice-T,
Outsiders, Outsiders, Outsiders, Outsiders.
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.