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 Guyana and from Calgary.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Madrid 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 David Bowie 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 Rosa Yemen to the electroclash 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 Derrick May. All the underground hits.
All The Real Kids 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Alison Limerick,
The Red Krayola,
Massinfluence,
Parry Music,
Derrick Morgan,
Pharaoh Sanders and the Fire Engines,
Pierre Henry,
Bob Dylan,
Fifty Foot Hose,
Moebius,
Suburban Knight,
The Kinks,
The Invisible,
Depeche Mode,
Delta 5,
Kayak,
The New Christs,
Maurizio,
Skriet,
Cheater Slicks,
Kerri Chandler,
The Jesus and Mary Chain,
Oblivians,
Jimmy McGriff,
Tres Demented,
Sun Ra Arkestra,
Young Marble Giants,
Morten Harket,
The Residents,
Guru Guru,
the Swans,
The Doors,
Bobby Womack,
Rites of Spring,
Michelle Simonal,
The Mummies,
Brand Nubian,
T.S.O.L.,
Grandmaster Flash and the Furious Five,
The Vogues,
Inner City,
Marc Romboy vs. Booka Shade,
D'Angelo,
Spandau Ballet,
Arcadia,
Marine Girls,
Symarip,
Negative Approach,
Selector Dub Narcotic,
Yusef Lateef,
Chris Corsano,
The Monks,
Hardrive,
The Detroit Cobras,
Marcia Griffiths,
Rosa Yemen,
Saccharine Trust,
Gil Scott-Heron and Jamie xx,
Kings Of Tomorrow,
Ultramagnetic MC's,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.