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 Rwanda and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Tokyo 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 808 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 Graham Central Station to the rock kids.
I played it at the 40 Watt.
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 Pharoah Sanders. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Section 25 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Skaos,
Trumans Water,
Wire,
Fat Boys,
The Standells,
Minny Pops,
De La Soul & Jungle Brothers,
Hasil Adkins,
Bang On A Can,
The Gap Band,
Babytalk,
Andrew Ashong & Theo Parrish,
Brick,
Sister Nancy,
Little Man,
The Slits,
Kool Moe Dee,
Qualms,
The Alarm Clocks,
Black Bananas,
Neu!,
Pole,
The Sound,
LL Cool J,
Erykah Badu,
Flipper,
Young Marble Giants,
The Angels of Light,
Livin' Joy,
Frankie Knuckles,
Smog,
Sight & Sound,
Lou Christie,
Quantec,
Aswad,
Sam Rivers,
Marmalade,
Fifty Foot Hose,
Cal Tjader,
Sun Ra Arkestra,
Clear Light,
Red Lorry Yellow Lorry,
Franke,
The Moody Blues,
Captain Beefheart & His Magic Band,
Avey Tare & Kría Brekkan,
Piero Umiliani,
Metal Thangz,
Kool G Rap & DJ Polo,
Dorothy Ashby,
Lee Hazlewood,
Can,
Crime,
Gil Scott-Heron & Brian Jackson,
Big Daddy Kane,
Joensuu 1685,
Stetsasonic,
Echo & the Bunnymen,
Jeff Mills,
The Black Dice,
June of 44,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.