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 Singapore and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Pete Rock & C.L. Smooth to the jazz 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 Alton Ellis. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Lou Reed & Metallica,
The Men They Couldn't Hang,
Sly & The Family Stone,
Dual Sessions,
Massinfluence,
DeepChord presents Echospace,
Tubeway Army,
Graham Central Station,
Janne Schatter,
The Names,
The Durutti Column,
Animal Collective,
Avey Tare's Slasher Flicks,
Flamin' Groovies,
Infiniti,
Q and Not U,
Avey Tare,
Red Lorry Yellow Lorry,
Monolake,
Boredoms,
Marc Almond,
Notorious Big And Bone Thugs,
Arab on Radar,
Warren Ellis,
Ken Boothe,
The Beau Brummels,
Wire,
Glambeats Corp.,
Terry Callier,
Rhythim Is Rhythim,
Porter Ricks,
The Fugs,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Roxy Music,
Nik Kershaw,
Accadde A,
The Young Rascals,
Underground Resistance,
Rakim,
Eli Mardock,
Los Fastidios,
Von Mondo,
Jacques Brel,
Subhumans,
Soft Machine,
Wighnomy Brothers & Robag Wruhme,
The Skatalites,
Nation of Ulysses,
EPMD,
Sad Lovers and Giants,
T.S.O.L.,
Lou Christie,
Jeff Lynne,
Nils Olav,
The Smiths,
Boogie Down Productions,
ABC,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.