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 Bahamas and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
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 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 Outsiders to the rap 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 the Slits. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
John Cale,
Art Ensemble Of Chicago,
Avey Tare,
The Count Five,
Pulsallama,
The Grass Roots,
Young Marble Giants,
Alice Coltrane,
Smog,
Amon Düül II,
Fugazi,
Alphaville,
Bauhaus,
Isaac Hayes,
Heavy D & The Boyz,
Todd Rundgren,
Be Bop Deluxe,
Eric Copeland,
Cabaret Voltaire,
Crash Course in Science,
Toni Rubio,
Eurythmics,
Eve St. Jones,
Chrome,
Aural Exciters,
Juan Atkins,
Deadbeat,
The Walker Brothers,
Cal Tjader,
Brass Construction,
Oppenheimer Analysis,
Pharaoh Sanders and the Fire Engines,
The Gories,
MC5,
Groovy Waters,
Procol Harum,
Saccharine Trust,
The Flesh Eaters,
Cheater Slicks,
Avey Tare's Slasher Flicks,
Stetsasonic,
Khruangbin,
La Düsseldorf,
Eden Ahbez,
Wighnomy Brothers & Robag Wruhme,
Hasil Adkins,
Lou Reed & John Cale,
The Red Krayola,
The Royal Family And The Poor,
The Motions,
Michelle Simonal,
Lonnie Liston Smith,
The Star Department,
Scott Walker + Sunn O))),
Talk Talk,
Nick Fraelich,
Schoolly D,
The American Breed,
Japan,
Interpol,
Fatback Band,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.