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 Malaysia and from Bologna.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Barrington Levy to the techno kids.
I played it at CBGB's.
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 Brass Construction. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Pantytec,
Oneida,
Outsiders,
Flipper,
Lou Reed & Metallica,
Henry Cow,
Roy Ayers Ubiquity,
Inner City,
Ultimate Spinach,
H. Thieme,
Brothers Johnson,
Major Organ And The Adding Machine,
The Kinks,
UT,
Nick Fraelich,
the Slits,
Faraquet,
Tres Demented,
Man Parrish,
Fela Kuti,
Bootsy Collins,
Anakelly,
Notorious Big And Bone Thugs,
Rapeman,
Bobby Hutcherson,
Kas Product,
Jesper Dahlback,
Roxette,
Dead Boys,
Grey Daturas,
The Peanut Butter Conspiracy,
Au Pairs,
Ultra Naté,
Susan Cadogan,
Crash Course in Science,
Heaven 17,
Massinfluence,
Lizzy Mercier Descloux,
Rakim,
Iggy Pop,
Neu!,
Pylon,
Lafayette Afro Rock Band,
June of 44,
Supertramp,
E-Dancer,
Jeru the Damaja,
Boredoms,
The Fortunes,
Soft Machine,
DJ Style,
Terrestrial Tones,
In Retrospect,
Sonic Youth,
Tim Buckley,
Skriet,
Kango’s Stein Massive,
Mad Mike,
The Stooges,
Khruangbin,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.