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 Cuba and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Manila and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Lou Reed 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 Brothers Johnson to the funk 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 Ohio Players. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Scott Walker + Sunn O))),
Letta Mbulu,
Tommy Roe,
Andrew Ashong & Theo Parrish,
The Moleskins,
The Associates,
James White and The Blacks,
Arab on Radar,
Erasure,
Flamin' Groovies,
Tropical Tobacco,
Liliput,
Warsaw,
June of 44,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Anakelly,
The Walker Brothers,
Sex Pistols,
Ossler,
JFA,
Glambeats Corp.,
Archie Shepp,
FM Einheit,
Sun City Girls,
The J.B.'s,
Rites of Spring,
The Mojo Men,
New York Dolls,
The Fire Engines,
Terrestrial Tones,
Matthew Bourne,
Gil Scott Heron,
Parry Music,
Man Parrish,
Dark Day,
Orchestral Manoeuvres in the Dark,
Franke,
Mark Hollis,
Ludus,
UT,
Rhythim Is Rhythim,
Howard Jones,
Bobby Byrd,
The Grass Roots,
MDC,
Blake Baxter,
Sad Lovers and Giants,
The Index,
Wire,
Girls At Our Best!,
Bobbi Humphrey,
Babytalk,
Cal Tjader,
Todd Rundgren,
Monks,
Harmonia,
Al Stewart,
The Stooges,
The Vogues,
Rhythm & Sound,
Pagans,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.