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 Panama and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Gary Puckett & The Union Gap to the punk kids.
I played it at Cafe Wha.
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 the Bar-Kays. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Interpol 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
OOIOO,
Ornette Coleman,
Joyce Sims,
Louis and Bebe Barron,
The Chocolate Watch Band,
Rites of Spring,
Rakim,
The Fall,
Kerrie Biddell,
Erasure,
Roy Ayers Ubiquity,
Marmalade,
The Skatalites,
Scientists,
Hot Snakes,
The Gories,
Crooked Eye,
Rhythm & Sound,
Jeff Mills,
Ash Ra Tempel,
Scan 7,
Gang of Four,
Gerry Rafferty,
Fluxion,
Wasted Youth,
Grandmaster Flash and the Furious Five,
Boogie Down Productions,
Fela Kuti,
Chrome,
The Divine Comedy,
Sandy B,
the Sonics,
David Bowie,
a-ha,
The Royal Family And The Poor,
Severed Heads,
James White and The Blacks,
Soulsonic Force,
The Gap Band,
Alphaville,
Ken Boothe,
Fat Boys,
The Dirtbombs,
Guru Guru,
Fifty Foot Hose,
Glenn Branca,
Agent Orange,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Derrick May,
Kango’s Stein Massive,
Art Ensemble Of Chicago,
Robert Wyatt,
Pantytec,
D'Angelo,
DJ Sneak,
The Knickerbockers,
Rod Modell,
Cluster, Cluster, Cluster, Cluster.
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.