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 Russia and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1978.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Toronto 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 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 June Days to the dance kids.
I played it at the Astoria.
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 Jesper Dahlbäck. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Ten City,
Nation of Ulysses,
Roger Hodgson,
Inner City,
Essential Logic,
Electric Prunes,
Graham Central Station,
Faraquet,
Fifty Foot Hose,
the Fania All-Stars,
Warren Ellis,
Unrelated Segments,
Excepter,
Pussy Galore,
Suburban Knight,
Sun Ra Arkestra,
The Neon Judgement,
Ultramagnetic MC's,
Kas Product,
In Retrospect,
Fugazi,
Swans,
Nick Cave & The Bad Seeds,
Art Ensemble Of Chicago,
Parry Music,
Dark Day,
Maleditus Sound,
Gabor Szabo,
Yusef Lateef,
Grandmaster Flash,
X-101,
James Chance & The Contortions,
Jesper Dahlbäck,
The Dead C,
Oblivians,
Minutemen,
Marine Girls,
Neil Young & Crazy Horse,
Cymande,
Gian Franco Pienzio,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
Kings Of Tomorrow,
Prince Buster,
Liliput,
Hot Snakes,
Minnie Riperton,
Aaron Thompson,
Electric Light Orchestra,
Lebanon Hanover,
Avey Tare's Slasher Flicks,
Eric Dolphy,
Lafayette Afro Rock Band,
Heaven 17,
Tim Buckley,
Judy Mowatt,
X-102,
Wally Richardson,
A Flock of Seagulls,
Archie Shepp,
Ralphi Rosario,
Bob Dylan,
Television, Television, Television, Television.
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.