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 China and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Mexico City 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 Robert Palmer 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 D'Angelo to the dance 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 Pere Ubu. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal grime 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
The Blues Magoos,
the Bar-Kays,
Gabor Szabo,
The Fire Engines,
Faraquet,
Aloha Tigers,
Parry Music,
Newcleus,
Tropical Tobacco,
Nik Kershaw,
Ultimate Spinach,
Soft Machine,
Khruangbin,
Amon Düül II,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sunsets and Hearts,
The Beau Brummels,
The Music Machine,
The Selecter,
Red Lorry Yellow Lorry,
The Monochrome Set,
The Zeros,
Hasil Adkins,
Shuggie Otis,
Mantronix,
H. Thieme,
Gil Scott-Heron and Jamie xx,
Sun City Girls,
Liliput,
Roy Ayers,
Moss Icon,
The Mighty Diamonds,
Pierre Henry,
Vaughan Mason & Crew,
Steve Hackett,
Half Japanese,
Delta 5,
The Standells,
The Offenders,
Sparks,
Lou Reed & John Cale,
Manfred Mann's Earth Band,
Pulsallama,
Black Bananas,
Arthur Verocai,
Ronan,
The Fortunes,
The Detroit Cobras,
Moebius,
Bobbi Humphrey,
Quando Quango,
Zero Boys,
Warsaw,
The Count Five,
The Buckinghams,
Mark Hollis,
The Remains,
Gian Franco Pienzio,
The Smiths,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.