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 Taiwan and from Bologna.
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 1968 to 1979.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Lagos 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 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 Kurtis Blow to the techno 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 The West Coast Pop Art Experimental Band. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Ludus,
The Velvet Underground,
Chrome,
Porter Ricks,
Wire,
The Motions,
a-ha,
DNA,
Model 500,
Cluster,
Todd Terry,
Pulsallama,
The Angels of Light,
Make Up,
Minutemen,
Slave,
Art Ensemble Of Chicago,
Marshall Jefferson,
Kayak,
Alphaville,
Shuggie Otis,
Major Organ And The Adding Machine,
Fela Kuti,
Lafayette Afro Rock Band,
Bill Near,
Andrew Ashong & Theo Parrish,
Skaos,
ABC,
John Foxx,
Kurtis Blow,
Gil Scott Heron,
Mantronix,
Sun City Girls,
T. Rex,
Echospace,
Alice Coltrane,
Terrestrial Tones,
Quadrant,
Stereo Dub,
The Invisible,
Swell Maps,
Amazonics,
The Count Five,
Circle Jerks,
Tim Buckley,
Mission of Burma,
Harry Pussy,
Joensuu 1685,
This Heat,
Kenny Larkin,
Buzzcocks,
Television Personalities,
The Gun Club,
Sound Behaviour,
Dorothy Ashby,
Funkadelic,
Notorious BIG live in Amsterdam,
the Normal,
Cymande,
Flipper,
Althea and Donna,
Maurizio, Maurizio, Maurizio, Maurizio.
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.