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 Egypt and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Kerri Chandler to the funk kids.
I played it at the Hacienda.
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 Ten City. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Masters at Work 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Rotary Connection,
Shoche,
Archie Shepp,
Radiohead,
Siglo XX,
Big Daddy Kane,
Crime,
Supertramp,
Lou Reed,
ABBA,
Radio Birdman,
Deepchord,
Rekid,
This Heat,
48th St. Collective,
Traffic Nightmare,
Skaos,
Angels of Light & Akron/Family,
Underground Resistance,
Aural Exciters,
Hoover,
The Velvet Underground,
Zero Boys,
K-Klass,
Gregory Isaacs,
Roy Ayers Ubiquity,
June Days,
Röyhkä ja Rättö ja Lehtisalo,
The Sonics,
Unrelated Segments,
Pole,
Stereo Dub,
Outsiders,
Altered Images,
Adolescents,
Sex Pistols,
The Litter,
Half Japanese,
The Names,
Cameo,
China Crisis,
The Monks,
Slave,
Pere Ubu,
The Remains,
Jerry Gold Smith,
The Barracudas,
Agent Orange,
Frankie Knuckles,
Procol Harum,
The Fortunes,
Depeche Mode,
Animal Collective,
Black Bananas,
Piero Umiliani,
Metal Thangz,
Electric Light Orchestra,
Sight & Sound,
Ludus,
Infiniti,
the Germs,
Lalann, Lalann, Lalann, Lalann.
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.