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 Zimbabwe and from Seoul.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Grandmaster Flash to the crunk kids.
I played it at the Troubador.
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 Techniques. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Black Bananas 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Litter,
Avey Tare & Kría Brekkan,
LL Cool J,
E-Dancer,
The Names,
DeepChord presents Echospace,
In Retrospect,
Eurythmics,
Pussy Galore,
Joy Division,
The Dead C,
Gastr Del Sol,
Livin' Joy,
John Holt,
Glambeats Corp.,
Minutemen,
Scan 7,
The Dirtbombs,
Ultra Naté,
Japan,
Das Ding,
R.M.O.,
Animal Collective,
The Knickerbockers,
Traffic Nightmare,
The Standells,
Supertramp,
Pylon,
X-102,
Neil Young,
The Angels of Light,
London Community Gospel Choir,
Lou Reed & John Cale,
Arthur Verocai,
Andrew Ashong & Theo Parrish,
Black Pus,
Strawberry Alarm Clock,
Siouxsie and the Banshees,
The Young Rascals,
Pole,
Art Ensemble Of Chicago,
Tommy Roe,
Oneida,
Mo-Dettes,
These Immortal Souls,
The Gories,
Scrapy,
Jawbox,
Robert Wyatt,
The Fuzztones,
Bluetip,
Flamin' Groovies,
Tim Buckley,
the Human League,
Jandek,
Be Bop Deluxe,
Darondo,
Davy DMX,
New Order,
Faraquet,
The American Breed,
Brand Nubian,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.