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 Kosovo and from Philadelphia.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school London 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Fela Kuti to the punk 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 Sugar Minott. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Morten Harket 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 '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
the Germs,
Urselle,
The Durutti Column,
Neil Young & Crazy Horse,
The Offenders,
Nico,
Pulsallama,
Lou Reed & John Cale,
The Buckinghams,
The Birthday Party,
Chrome,
Khruangbin,
Circle Jerks,
Procol Harum,
The Doors,
The Vogues,
Erykah Badu,
Brothers Johnson,
Tropical Tobacco,
Malaria!,
Byron Stingily,
Monks,
Mo-Dettes,
Sunsets and Hearts,
Max Romeo,
Josef K,
Dark Day,
Ronan,
Sarah Menescal,
Peter & Gordon,
Roy Ayers Ubiquity,
Jacques Brel,
The Golliwogs,
Ornette Coleman,
Rotary Connection,
Ohio Players,
The Monks,
Andrew Ashong & Theo Parrish,
Leonard Cohen,
Prince Buster,
Mad Mike,
Can,
Scion,
Popol Vuh,
Major Organ And The Adding Machine,
Suicide,
Goldenarms,
Niagra,
Flamin' Groovies,
Jeff Mills,
Gregory Isaacs,
The Pretty Things,
The United States of America,
The Cramps,
Kango’s Stein Massive,
Babytalk,
Vainqueur,
Avey Tare,
Jesper Dahlbäck,
The Motions, The Motions, The Motions, The Motions.
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.