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 Kosovo and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Marshall Jefferson to the rock kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Dawn Penn 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 '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Ultravox,
Liliput,
Malaria!,
Eve St. Jones,
Joyce Sims,
Unwound,
Pete Rock & C.L. Smooth,
Todd Rundgren,
Deepchord,
Vainqueur,
kango's stein massive,
Jeff Mills,
Carl Craig,
Josef K,
Dark Day,
Andrew Ashong & Theo Parrish,
Grey Daturas,
Peter and Kerry,
Black Sheep,
the Association,
Section 25,
Ultra Naté,
Wolf Eyes,
Aaron Thompson,
The Martian,
Amazonics,
The Fuzztones,
Outsiders,
Joy Division,
the Swans,
Animal Collective,
Joe Smooth,
Television Personalities,
Lakeside,
Freddie Wadling,
PIL,
Monks,
Au Pairs,
Rakim,
Arthur Verocai,
Black Pus,
Erykah Badu,
Vaughan Mason & Crew,
Godley & Creme,
Roy Ayers,
Isaac Hayes,
Nas,
The Blackbyrds,
Notorious Big And Bone Thugs,
Rotary Connection,
Warsaw,
The Doobie Brothers,
Boogie Down Productions,
Ajijia Myrayebe,
The Monks,
Crispian St. Peters,
Goldenarms,
Organ,
Dawn Penn,
Eli Mardock,
Scion,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.