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 Colombia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Alarm Clocks to the grunge kids.
I played it at Cafe Wha.
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 Andrew Hill. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Mary Jane Girls,
The Cramps,
Procol Harum,
The Fuzztones,
Eve St. Jones,
Deakin,
A Flock of Seagulls,
Marc Almond,
DJ Sneak,
Jesper Dahlback,
Desert Stars,
Animal Collective,
New York Dolls,
Gang Green,
Kauko Röyhkä ja Narttu,
Q65,
Minny Pops,
Ten City,
June Days,
Marmalade,
Lightning Bolt,
The Gun Club,
The Shadows of Knight,
China Crisis,
The Zeros,
The Last Poets,
X-Ray Spex,
Tres Demented,
Vaughan Mason & Crew,
Camron Feat. Memphis Bleek And Beenie Seigel,
Underground Resistance,
Dorothy Ashby,
Sixth Finger,
Lee Hazlewood,
Ice-T,
the Sonics,
Eyeless In Gaza,
The J.B.'s,
T. Rex,
Super Lover Cee & Casanova Rud,
The Vogues,
Sällskapet,
Bluetip,
Pulsallama,
Spoonie Gee,
Amazonics,
Rhythm & Sound,
Flipper,
Rotary Connection,
Soft Machine,
Pharoah Sanders,
Stereo Dub,
Crime,
The Human League,
EPMD,
Louis and Bebe Barron,
Jeff Lynne,
Electric Prunes,
Rod Modell,
The Index,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.