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 Madagascar and from Philadelphia.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Junior Murvin to the rock kids.
I played it at the Roxy.
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 Donald Byrd. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Suicide,
Gang of Four,
Jimmy McGriff,
Tropical Tobacco,
Pantaleimon,
Newcleus,
The Shadows of Knight,
The Smoke,
Moebius,
Soft Machine,
Matthew Bourne,
Jesper Dahlback,
Isaac Hayes,
Cluster,
David Bowie,
John Lydon,
Loose Ends,
Lizzy Mercier Descloux,
Amon Düül II,
Robert Hood,
Tomorrow,
Rapeman,
John Coltrane,
Dr. Dre and Snoop Doggy Dog,
Prince Buster,
Roger Hodgson,
Subhumans,
The Selecter,
Soul Sonic Force,
Neil Young,
Rotary Connection,
Barclay James Harvest,
D'Angelo,
Warsaw,
La Düsseldorf,
Yellowson,
Hashim,
Mars,
The Red Krayola,
Intrusion,
The Music Machine,
Sister Nancy,
Cecil Taylor,
Theoretical Girls,
Marcia Griffiths,
Delta 5,
Ice-T,
Maleditus Sound,
The Busters,
Pussy Galore,
Siouxsie and the Banshees,
Mark Hollis,
Yusef Lateef,
Rhythm & Sound,
Public Enemy,
Kango’s Stein Massive,
Pharoah Sanders,
Terry Callier,
The Walker Brothers,
The Golliwogs,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.