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 Lebanon and from Seoul.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Jakarta 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 clarinet 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 Girls At Our Best! to the rock kids.
I played it at the Crocodile.
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 Crash Course in Science. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
The Cramps,
Half Japanese,
Angry Samoans,
Funkadelic,
Eric B and Rakim,
Alton Ellis,
Ajijia Myrayebe,
Bootsy's Rubber Band,
Fort Wilson Riot,
Harmonia,
Wire,
Amazonics,
Man Parrish,
Rowland S Howard / Lydia Lunch,
Parry Music,
Intrusion,
Ash Ra Tempel,
Country Joe & The Fish,
Maleditus Sound,
Ten City,
The Kinks,
Aloha Tigers,
MC5,
The Flesh Eaters,
The Modern Lovers,
Kevin Saunderson,
The Red Krayola,
Frankie Knuckles,
Fugazi,
Aaron Thompson,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Barclay James Harvest,
Mark Hollis,
Television,
Crispian St. Peters,
Sunsets and Hearts,
Pierre Henry,
Cal Tjader,
The Dead C,
the Normal,
Moby Grape,
Sun Ra,
Crash Course in Science,
Dorothy Ashby,
Laurel Aitken,
New Age Steppers,
Joe Smooth,
Stiv Bators,
UT,
Cluster,
Nirvana,
The Men They Couldn't Hang,
Soul II Soul,
The Offenders,
Jeru the Damaja,
Robert Görl,
Gary Puckett & The Union Gap,
F. McDonald,
CMW,
Ronnie Foster,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.