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 Albania 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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Average White Band to the grime kids.
I played it at CBGB's.
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 Bobby Hutcherson. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Gerry Rafferty 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Barrington Levy,
Index,
Wasted Youth,
Althea and Donna,
Andrew Hill,
Grandmaster Flash,
Marc Almond,
Cymande,
Wings,
Skaos,
Curtis Mayfield,
Brass Construction,
Alton Ellis,
Louis and Bebe Barron,
Franke,
DJ Style,
The Cowsills,
Cecil Taylor,
Deakin,
Tres Demented,
Bang On A Can,
Sad Lovers and Giants,
The Slits,
Ash Ra Tempel,
the Soft Cell,
The Associates,
Niagra,
Joey Negro,
Man Parrish,
Eric Copeland,
Lee Hazlewood,
Skriet,
Liliput,
Alison Limerick,
The Fall,
Second Layer,
Jawbox,
The Last Poets,
The Jesus and Mary Chain,
Derrick Morgan,
Desert Stars,
Arthur Verocai,
Fela Kuti,
X-102,
Nils Olav,
Bob Dylan,
Mantronix,
Schoolly D,
Moss Icon,
Faust,
Swans,
Parry Music,
Larry & the Blue Notes,
Monks,
John Coltrane,
Khruangbin,
The Vogues,
Glambeats Corp.,
New York Dolls,
Grandmaster Flash and the Furious Five,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.