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 Kiribati and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Paris 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 marimba sounds with much patience.
I was there when Lou Reed 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 Drexciya to the grunge kids.
I played it at the Astoria.
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 Motorama. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Brothers Johnson 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
cv313,
CMW,
Fugazi,
The Selecter,
Erykah Badu,
Ohio Players,
Model 500,
the Soft Cell,
Orchestral Manoeuvres in the Dark,
Heavy D & The Boyz,
MDC,
Boredoms,
Teenage Jesus and the Jerks,
The Chocolate Watch Band,
Soft Cell,
Tom Boy,
The Human League,
Grey Daturas,
Supertramp,
Electric Prunes,
June Days,
Q and Not U,
Ultimate Spinach,
Minnie Riperton,
John Lydon,
Main Source,
Ronnie Foster,
the Swans,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
Arcadia,
The Five Americans,
Traffic Nightmare,
Robert Görl,
The Moody Blues,
Agent Orange,
Rod Modell,
Black Flag,
Dark Day,
The Cosmic Jokers,
Pole,
Nas,
The Saints,
Kool Moe Dee,
the Bar-Kays,
Country Teasers,
Moss Icon,
Second Layer,
Nick Cave & The Bad Seeds,
X-101,
Rakim,
Severed Heads,
Leonard Cohen,
The Royal Family And The Poor,
Kool G Rap & DJ Polo,
Liaisons Dangereuses,
The Men They Couldn't Hang,
The Trojans,
Nick Fraelich,
48th St. Collective,
Terror Squad Feat. Camron,
a-ha, a-ha, a-ha, a-ha.
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.