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 India and from Calgary.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Mumbai 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Aloha Tigers to the rap 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 Audionom. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Johnny Osbourne,
Robert Görl,
Suicide,
the Swans,
Blossom Toes,
Bang On A Can,
Boogie Down Productions,
The Offenders,
Graham Central Station,
Half Japanese,
Wally Richardson,
Piero Umiliani,
The Fall,
Avey Tare's Slasher Flicks,
Bobbi Humphrey,
Lizzy Mercier Descloux,
The Residents,
Basic Channel,
Icehouse,
Yazoo,
Massinfluence,
Dark Day,
Grandmaster Flash,
Gil Scott Heron,
Terrestrial Tones,
Lalann,
Kas Product,
The Shadows of Knight,
June Days,
Dorothy Ashby,
Joe Smooth,
Dave Gahan,
Rhythm & Sound,
Chrome,
Cybotron,
Ornette Coleman,
Excepter,
Sarah Menescal,
Joe Finger,
Q65,
Slave,
The Angels of Light,
The Grass Roots,
Roy Ayers Ubiquity,
Con Funk Shun,
Scan 7,
The Litter,
Roxette,
Larry & the Blue Notes,
Tom Boy,
Cameo,
The Toasters,
Buzzcocks,
Cal Tjader,
The Five Americans,
Depeche Mode,
Grandmaster Flash and the Furious Five,
Deadbeat,
Lyres,
Gang Green,
Kenny Larkin,
PIL, PIL, PIL, PIL.
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.