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 Ethiopia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 The Velvet Underground to the funk 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 Donald Byrd. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every June of 44 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Kango’s Stein Massive,
The Divine Comedy,
Wighnomy Brothers & Robag Wruhme,
Aaron Thompson,
Mo-Dettes,
Bill Near,
DeepChord presents Echospace,
Funky Four + One,
Cameo,
Danielle Patucci,
The Busters,
Dark Day,
Frankie Knuckles,
Tim Buckley,
Soft Machine,
Lou Reed,
Japan,
Schoolly D,
Pet Shop Boys,
Malaria!,
Flamin' Groovies,
Excepter,
Bobby Byrd,
Juan Atkins,
Todd Terry,
Joensuu 1685,
Harmonia,
Selector Dub Narcotic,
Mantronix,
Siglo XX,
Soul Sonic Force,
Black Sheep,
Reuben Wilson,
Marc Almond,
Scott Walker + Sunn O))),
Eric Dolphy,
Josef K,
Saccharine Trust,
Fat Boys,
Pantytec,
10cc,
The Doobie Brothers,
The Invisible,
the Soft Cell,
Sonic Youth,
Cal Tjader,
Gabor Szabo,
Jeff Lynne,
Barrington Levy,
Fluxion,
Guru Guru,
Jawbox,
Magazine,
The Pop Group,
Fatback Band,
Junior Murvin,
Lucky Dragons,
JFA,
Yazoo,
Monolake,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.