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 Russia and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Tehran.
I'm losing my edge to the art-school Philadelphia 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Black Pus to the jazz kids.
I played it at the Troubador.
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 The Skatalites. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Nation of Ulysses 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 '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones 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?
Mission of Burma,
Traffic Nightmare,
Rhythm & Sound,
Art Ensemble Of Chicago,
The Monks,
Amon Düül,
Matthew Bourne,
Saccharine Trust,
Reuben Wilson,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
Agitation Free,
Marvin Gaye,
Lalann,
Deutsch Amerikanische Freundschaft,
Das Ding,
Joensuu 1685,
Supertramp,
Lindisfarne,
The Count Five,
Eli Mardock,
Ash Ra Tempel,
Tropical Tobacco,
Groovy Waters,
Delon & Dalcan,
The Neon Judgement,
The Chocolate Watch Band,
Slave,
Lungfish,
Kevin Saunderson,
Crooked Eye,
The West Coast Pop Art Experimental Band,
Henry Cow,
MC5,
The Peanut Butter Conspiracy,
Pulsallama,
Rakim,
Marshall Jefferson,
OOIOO,
B.T. Express,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott-Heron & Brian Jackson,
Sexual Harrassment,
Wighnomy Brothers & Robag Wruhme,
Arcadia,
Crime,
the Sonics,
Bootsy Collins,
MDC,
Trumans Water,
The Pretty Things,
Scrapy,
Tim Buckley,
Glenn Branca,
Yusef Lateef,
Thinking Fellers Union Local 282,
Sight & Sound,
Rotary Connection,
Chrome,
Quantec,
Symarip,
Donald Byrd,
Archie Shepp,
Electric Prunes,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.