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 Swaziland and from Sao Paulo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Spokane and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 Selda practice in a loft in Istanbul.
I was working on the organ 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 Rhythm & Sound to the techno 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 David Axelrod. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Masters at Work,
Main Source,
Absolute Body Control,
Swell Maps,
The Birthday Party,
Matthew Bourne,
Bobby Hutcherson,
Sight & Sound,
Blake Baxter,
Jawbox,
Bobby Byrd,
The Men They Couldn't Hang,
Barrington Levy,
The American Breed,
The Fuzztones,
The Pretty Things,
Symarip,
Gil Scott-Heron & Brian Jackson,
Archie Shepp,
Negative Approach,
Guru Guru,
Stockholm Monsters,
The Selecter,
Colin Newman,
The Buckinghams,
Camberwell Now,
Prince Buster,
Niagra,
Mark Hollis,
The Motions,
Average White Band,
Nico,
Marine Girls,
Kool Moe Dee,
Eden Ahbez,
The Red Krayola,
Black Bananas,
Faraquet,
Gary Puckett & The Union Gap,
Swans,
Maurizio,
Fela Kuti,
Bang On A Can,
the Germs,
Robert Hood,
Fatback Band,
Trumans Water,
Idris Muhammad,
DNA,
Judy Mowatt,
Nils Olav,
The Litter,
Ice-T,
Nation of Ulysses,
Morten Harket,
The Modern Lovers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun City Girls,
Quadrant,
The West Coast Pop Art Experimental Band,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.