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 Sudan and from Copenhagen.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Calgary 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Rekid to the jazz kids.
I played it at Trash.
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 Schoolly D. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Harpers Bizarre 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Skaos,
T.S.O.L.,
Monks,
Max Romeo,
Kango’s Stein Massive,
Derrick May,
Shuggie Otis,
La Düsseldorf,
Kerrie Biddell,
Outsiders,
Connie Case,
Albert Ayler,
Funkadelic,
Louis and Bebe Barron,
the Bar-Kays,
Soft Cell,
Kas Product,
The Gap Band,
Yaz,
Judy Mowatt,
Eurythmics,
Funky Four + One,
Janne Schatter,
Avey Tare,
Alice Coltrane,
Larry & the Blue Notes,
Scan 7,
Dead Boys,
Yazoo,
KRS-One,
It's A Beautiful Day,
Morten Harket,
Masters at Work,
The Human League,
The Tremeloes,
Amazonics,
D'Angelo,
Toni Rubio,
Terrestrial Tones,
Sunsets and Hearts,
Oppenheimer Analysis,
Man Eating Sloth,
Echospace,
The New Christs,
The Beau Brummels,
Popol Vuh,
The Dave Clark Five,
Rhythim Is Rhythim,
Sarah Menescal,
Quantec,
Brand Nubian,
Lucky Dragons,
Blancmange,
The Busters,
Desert Stars,
Lyres,
The Cramps,
Minnie Riperton,
Big Daddy Kane,
Ajijia Myrayebe,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.