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 South Sudan and from Spokane.
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 Accra and Woodstock.
I'm losing my edge to the art-school London 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 spring reverb 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 Big Daddy Kane 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 cv313. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Barbara Tucker 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Idris Muhammad,
Terry Callier,
Heavy D & The Boyz,
Harmonia,
The Alarm Clocks,
The Fuzztones,
Swell Maps,
Ituana,
Robert Görl,
Ice-T,
Qualms,
Lou Reed,
Sex Pistols,
David McCallum,
Michelle Simonal,
Terrestrial Tones,
Robert Hood,
New Age Steppers,
Howard Jones,
The Monochrome Set,
Grandmaster Flash,
Ornette Coleman,
Archie Shepp,
Black Pus,
ABBA,
The Wake,
Pantytec,
The Raincoats,
kango's stein massive,
Ultra Naté,
Dennis Brown,
Adolescents,
Al Stewart,
Yaz,
Gian Franco Pienzio,
The J.B.'s,
Japan,
In Retrospect,
The Shadows of Knight,
Amon Düül II,
X-Ray Spex,
Crooked Eye,
The Blues Magoos,
Roy Ayers,
10cc,
Steve Hackett,
Moby Grape,
The Grass Roots,
Brass Construction,
Donald Byrd,
Ponytail,
AZ,
Fugazi,
KRS-One,
the Human League,
Harry Pussy,
Fat Boys,
Judy Mowatt,
Sun Ra Arkestra,
Pharoah Sanders,
The Royal Family And The Poor,
Newcleus,
JFA, JFA, JFA, JFA.
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.