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 Algeria and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 Gregory Isaacs to the jazz kids.
I played it at the 40 Watt.
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 Aaron Thompson. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
L. Decosne,
48th St. Collective,
Scrapy,
Marc Almond,
PIL,
The Tremeloes,
Sex Pistols,
Black Flag,
Gil Scott-Heron & Brian Jackson,
John Coltrane,
Skaos,
D'Angelo,
Bootsy's Rubber Band,
Iggy Pop,
The New Christs,
Ultramagnetic MC's,
Godley & Creme,
Radiohead,
The Misunderstood,
The Smoke,
The Mighty Diamonds,
Louis and Bebe Barron,
Jeru the Damaja,
Public Image Ltd.,
JFA,
Brass Construction,
Janne Schatter,
Grandmaster Flash,
Al Stewart,
Symarip,
Newcleus,
Röyhkä ja Rättö ja Lehtisalo,
Reuben Wilson,
Liaisons Dangereuses,
The Young Rascals,
Franke,
Interpol,
Richard Hell and the Voidoids,
Judy Mowatt,
The Move,
Roy Ayers,
The Mojo Men,
Warren Ellis,
The Moody Blues,
The Electric Prunes,
The Five Americans,
Basic Channel,
Little Man,
Freddie Wadling,
The Raincoats,
Lalann,
Mission of Burma,
Kool G Rap & DJ Polo,
The Dave Clark Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kas Product,
Schoolly D,
DNA,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.