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 Grenada and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Minnie Riperton to the crunk kids.
I played it at the Hacienda.
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 Connie Case. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every The Five Americans 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Electric Light Orchestra,
Al Stewart,
The Birthday Party,
Rowland S Howard / Lydia Lunch,
The Pop Group,
Sly & The Family Stone,
The Techniques,
Selector Dub Narcotic,
Robert Hood,
Joe Finger,
Japan,
The Detroit Cobras,
Kango’s Stein Massive,
Duran Duran,
Maleditus Sound,
Franke,
The Misunderstood,
The Angels of Light,
Soft Machine,
Aloha Tigers,
Albert Ayler,
Blossom Toes,
a-ha,
Chris & Cosey,
Jimmy McGriff,
Swell Maps,
Yusef Lateef,
cv313,
Lalann,
Anthony Braxton,
Bad Manners,
Amazonics,
The Fuzztones,
Q and Not U,
Quantec,
Ronan,
Ponytail,
MDC,
the Germs,
The Invisible,
The Remains,
Robert Görl,
Terrestrial Tones,
Hot Snakes,
Public Enemy,
Kayak,
Marine Girls,
Peter & Gordon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hardrive,
D'Angelo,
Wasted Youth,
Country Joe & The Fish,
The Black Dice,
the Soft Cell,
Dr. Dre and Snoop Doggy Dog,
The Searchers,
Danielle Patucci,
Roxy Music,
Grandmaster Flash,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.