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 Barbados and from Beijing.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Seoul 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 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 Oneida to the disco 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 The Mojo Men. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Supertramp,
Skaos,
Banda Bassotti,
Cecil Taylor,
Faust,
Jawbox,
The Walker Brothers,
Harpers Bizarre,
Teenage Jesus and the Jerks,
The Index,
Toni Rubio,
U.S. Maple,
OOIOO,
Kerrie Biddell,
Jacques Brel,
Wally Richardson,
Sparks,
The Count Five,
The Birthday Party,
Jesper Dahlbäck,
Gong,
Fatback Band,
Zero Boys,
Sun Ra Arkestra,
MDC,
La Düsseldorf,
Cluster,
The Evens,
Funky Four + One,
David Axelrod,
Kauko Röyhkä ja Narttu,
Monks,
The Monochrome Set,
Section 25,
Soul II Soul,
The Sound,
FM Einheit,
Kango’s Stein Massive,
Bootsy Collins,
Rotary Connection,
It's A Beautiful Day,
Sun City Girls,
Vaughan Mason & Crew,
Rhythm & Sound,
David Bowie,
Schoolly D,
Bobby Sherman,
Warsaw,
Alton Ellis,
Thinking Fellers Union Local 282,
Godley & Creme,
Swell Maps,
Avey Tare & Kría Brekkan,
Mary Jane Girls,
the Swans,
Janne Schatter,
Lalo Schifrin,
Massinfluence,
Ronan,
ABBA,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.