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 Germany and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Lille 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 linndrum 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 The Seeds to the funk 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 Red Lorry Yellow Lorry. All the underground hits.
All UT tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Ornette Coleman,
Public Enemy,
Shoche,
Pylon,
Das Ding,
Fifty Foot Hose,
John Cale,
Bobby Byrd,
H. Thieme,
Pete Rock & C.L. Smooth,
The Detroit Cobras,
48th St. Collective,
Don Cherry,
Gang Gang Dance,
Agent Orange,
Barclay James Harvest,
Kool G Rap & DJ Polo,
Wighnomy Brothers & Robag Wruhme,
Susan Cadogan,
Pulsallama,
Quadrant,
Man Parrish,
the Normal,
Unwound,
Banda Bassotti,
Rod Modell,
Laurel Aitken,
Yazoo,
The American Breed,
The Young Rascals,
The Durutti Column,
Gang Green,
Althea and Donna,
Matthew Halsall,
the Bar-Kays,
Peter & Gordon,
Camron Feat. Jay Z And Juelz,
MDC,
Yaz,
Soft Machine,
Mantronix,
Popol Vuh,
Organ,
The Human League,
Symarip,
Von Mondo,
Alice Coltrane,
Camberwell Now,
Anakelly,
B.T. Express,
Rhythm & Sound,
Rahsaan Roland Kirk,
The Techniques,
Prince Buster,
Cameo,
The Blackbyrds,
This Heat,
Red Lorry Yellow Lorry,
Babytalk,
Flash Fearless,
Index, Index, Index, Index.
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.