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 Luxembourg and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 The Divine Comedy to the techno kids.
I played it at the Hacienda.
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 American Breed. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
David Bowie,
Fifty Foot Hose,
Lee Hazlewood,
Von Mondo,
Kool G Rap & DJ Polo,
The Detroit Cobras,
The Doobie Brothers,
Bootsy Collins,
Aaron Thompson,
Panda Bear,
Camberwell Now,
The Kinks,
Cybotron,
Hasil Adkins,
Main Source,
Barry Ungar,
Lou Reed & John Cale,
Larry & the Blue Notes,
Robert Wyatt,
Guru Guru,
Heavy D & The Boyz,
the Association,
The Searchers,
The Fall,
Alice Coltrane,
Jeru the Damaja,
Bad Manners,
Dead Boys,
Peter & Gordon,
Rahsaan Roland Kirk,
Roy Ayers Ubiquity,
Young Marble Giants,
the Sonics,
Sunsets and Hearts,
KRS-One,
Icehouse,
Inner City,
Harpers Bizarre,
Sonic Youth,
Terry Callier,
Make Up,
Rites of Spring,
Japan,
DJ Style,
Pharoah Sanders,
The Sonics,
Ultramagnetic MC's,
Danielle Patucci,
Niagra,
The Litter,
Angry Samoans,
Magazine,
Lalann,
The Dead C,
Godley & Creme,
Anthony Braxton,
Khruangbin,
Tropical Tobacco,
Spoonie Gee,
Matthew Halsall,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.