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 the UAE and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Grauzone to the punk kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Lower 48 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Little Man,
Essential Logic,
Flipper,
Gil Scott-Heron and Jamie xx,
Pharoah Sanders,
8 Eyed Spy,
Section 25,
Ice-T,
Thinking Fellers Union Local 282,
Japan,
Crooked Eye,
Niagra,
Juan Atkins,
The Last Poets,
Camouflage,
Pere Ubu,
The Knickerbockers,
Das Ding,
Monks,
The Black Dice,
Livin' Joy,
Al Stewart,
Albert Ayler,
Gil Scott-Heron & Brian Jackson,
Lalo Schifrin,
Anakelly,
Kool G Rap & DJ Polo,
Zapp,
Black Pus,
F. McDonald,
Stockholm Monsters,
The Detroit Cobras,
Joy Division,
New York Dolls,
Alton Ellis,
Louis and Bebe Barron,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
Clear Light,
Stiv Bators,
Flash Fearless,
Frankie Knuckles,
Johnny Clarke,
Infiniti,
Q and Not U,
Hot Snakes,
Minny Pops,
Ituana,
The Saints,
Marmalade,
Model 500,
Faraquet,
The Mighty Diamonds,
DJ Style,
Be Bop Deluxe,
Prince Buster,
John Cale,
Chrome, Chrome, Chrome, Chrome.
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.