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 Georgia and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 theremin sounds with much patience.
I was there when Donald Fagen 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 The Smiths to the disco kids.
I played it at the Roxy.
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 Byrd. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Althea and Donna 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 '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
James Chance & The Contortions,
Grandmaster Flash,
Althea and Donna,
the Swans,
Theoretical Girls,
ABBA,
Ossler,
H. Thieme,
Gil Scott Heron,
Albert Ayler,
Gang Starr,
Bizarre Inc.,
Kerri Chandler,
The Chocolate Watch Band,
Altered Images,
Ronnie Foster,
The Doobie Brothers,
Angry Samoans,
Buzzcocks,
Letta Mbulu,
New Age Steppers,
Sexual Harrassment,
Susan Cadogan,
Fifty Foot Hose,
Aural Exciters,
Sound Behaviour,
The United States of America,
Charles Mingus,
The Velvet Underground,
Guru Guru,
Mantronix,
Brass Construction,
Jimmy McGriff,
Youth Brigade,
Delon & Dalcan,
Richard Hell and the Voidoids,
Tomorrow,
Gabor Szabo,
The Associates,
Amazonics,
Q and Not U,
Roy Ayers,
Soulsonic Force,
Mark Hollis,
Major Organ And The Adding Machine,
Stereo Dub,
Siouxsie and the Banshees,
Moss Icon,
The Birthday Party,
Archie Shepp,
Spoonie Gee,
Joe Finger,
Supertramp,
Gang of Four,
Bobby Womack,
The Remains,
Siglo XX,
The Black Dice,
Sun Ra Arkestra,
Main Source,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.