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 Uruguay and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Salvador and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 Donald Fagen 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 Joey Negro to the grime kids.
I played it at the Astoria.
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 Techniques. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Standells,
a-ha,
Angry Samoans,
Ice-T,
the Slits,
Josef K,
David McCallum,
Agent Orange,
The Wake,
Tubeway Army,
Sad Lovers and Giants,
Rhythm & Sound,
Kevin Saunderson,
Derrick Morgan,
Lou Reed & Metallica,
Circle Jerks,
Scratch Acid,
The Walker Brothers,
Grey Daturas,
Jeff Mills,
The Smoke,
Public Enemy,
Lou Christie,
Deakin,
Minutemen,
Avey Tare,
Deutsch Amerikanische Freundschaft,
Hasil Adkins,
Bobby Hutcherson,
Marvin Gaye,
Pantaleimon,
The Litter,
De La Soul & Jungle Brothers,
Ken Boothe,
Alton Ellis,
DeepChord presents Echospace,
Warsaw,
Jesper Dahlback,
Lonnie Liston Smith,
48th St. Collective,
The Last Poets,
Teenage Jesus and the Jerks,
The Leaves,
Kool Moe Dee,
Average White Band,
Oppenheimer Analysis,
The Cowsills,
The Gladiators,
Crime,
Aaron Thompson,
Crispy Ambulance,
Echo & the Bunnymen,
Rites of Spring,
Amon Düül,
Soul Sonic Force,
Scientists,
The Blackbyrds,
Arcadia,
Stereo Dub,
Carl Craig,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.