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 Andorra and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1971.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Shanghai 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 theremin sounds with much patience.
I was there when Lou Reed 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 Hot Snakes to the rap 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 Eyeless In Gaza. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deakin,
Teenage Jesus and the Jerks,
Fela Kuti,
The Human League,
Rhythim Is Rhythim,
Shuggie Otis,
Lebanon Hanover,
Lungfish,
Chris Corsano,
Reuben Wilson,
Stereo Dub,
Johnny Osbourne,
The Remains,
Quando Quango,
the Association,
Desert Stars,
Al Stewart,
Agitation Free,
Bobby Sherman,
Minny Pops,
Bang On A Can,
Skaos,
The Divine Comedy,
Pharaoh Sanders and the Fire Engines,
L. Decosne,
Tears for Fears,
Cal Tjader,
Technova,
Lyres,
The Alarm Clocks,
Tropical Tobacco,
The Toasters,
Rekid,
Gastr Del Sol,
Bobby Womack,
T. Rex,
The Litter,
Robert Hood,
Neu!,
Marvin Gaye,
Soft Machine,
The Techniques,
The Golliwogs,
Charles Mingus,
Faust,
Mad Mike,
The Fortunes,
Scrapy,
Davy DMX,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
Kauko Röyhkä ja Narttu,
The Moleskins,
Organ,
Porter Ricks,
Crispy Ambulance,
Talk Talk,
Drexciya,
June of 44,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.