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 El Salvador and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Flash Fearless 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 Arab on Radar. All the underground hits.
All Steve Hackett 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Idris Muhammad,
Stockholm Monsters,
Darondo,
Soft Machine,
Eve St. Jones,
Dawn Penn,
Letta Mbulu,
Junior Murvin,
Arthur Verocai,
New Age Steppers,
Selector Dub Narcotic,
Radiohead,
Von Mondo,
Crash Course in Science,
Anthony Braxton,
Easy Going,
Larry & the Blue Notes,
Deepchord,
The Slits,
The Men They Couldn't Hang,
ABC,
The Toasters,
Icehouse,
Amon Düül II,
Delon & Dalcan,
Alphaville,
Funkadelic,
Barbara Tucker,
Ultramagnetic MC's,
Heaven 17,
Justin Hinds & The Dominoes,
Oneida,
Duran Duran,
Peter and Kerry,
Gabor Szabo,
Sixth Finger,
Drexciya,
Amazonics,
Fela Kuti,
Zero Boys,
Marcia Griffiths,
Moss Icon,
The Barracudas,
Eric Dolphy,
Reuben Wilson,
Outsiders,
Jeru the Damaja,
Bad Manners,
Michelle Simonal,
Slick Rick,
Isaac Hayes,
The Cosmic Jokers,
Loose Ends,
Adolescents,
Bronski Beat,
Scan 7,
Fort Wilson Riot,
Fifty Foot Hose,
The Grass Roots,
Gil Scott-Heron & Brian Jackson,
June of 44,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.