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 Solomon Islands and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Bluetip to the punk kids.
I played it at the Roxy.
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 Moss Icon. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Infiniti 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
The West Coast Pop Art Experimental Band,
Popol Vuh,
Amon Düül II,
The Dave Clark Five,
Sly & The Family Stone,
Easy Going,
Dennis Brown,
Guru Guru,
Bobby Sherman,
Eden Ahbez,
Neu!,
Rotary Connection,
Metal Thangz,
Idris Muhammad,
Kool Moe Dee,
Tubeway Army,
Warren Ellis,
Livin' Joy,
Ice-T,
Robert Görl,
E-Dancer,
Stetsasonic,
Bluetip,
Lucky Dragons,
Fluxion,
Visionaries,LMNO, T- Love & Iriscience,
Jacques Brel,
Sun Ra Arkestra,
Radiopuhelimet,
Youth Brigade,
Roger Hodgson,
John Coltrane,
Heaven 17,
Kerri Chandler,
Art Ensemble Of Chicago,
Cecil Taylor,
Flipper,
Half Japanese,
The Busters,
Marine Girls,
De La Soul & Jungle Brothers,
The Vogues,
Reuben Wilson,
The Remains,
Althea and Donna,
Sandy B,
Mary Jane Girls,
Manfred Mann's Earth Band,
Monks,
Gang Starr,
Blake Baxter,
Basic Channel,
Thinking Fellers Union Local 282,
Brick,
The Pretty Things,
Steve Hackett,
The Five Americans,
Brass Construction,
The Jesus and Mary Chain,
MDC,
The Selecter, The Selecter, The Selecter, The Selecter.
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.