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 Bahamas and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
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 arpeggiator 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 Joyce Sims to the crunk 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 Jerry's Kids. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Carl Craig 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 '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Eric B and Rakim,
Kurtis Blow,
Slave,
Bronski Beat,
Andrew Ashong & Theo Parrish,
Hasil Adkins,
Severed Heads,
Zapp,
David Axelrod,
Outsiders,
Dennis Brown,
Rakim,
Loose Ends,
Judy Mowatt,
The Red Krayola,
Basic Channel,
Angels of Light & Akron/Family,
Ultramagnetic MC's,
Pantytec,
Jerry Gold Smith,
Neil Young & Crazy Horse,
James White and The Blacks,
Thompson Twins,
Heaven 17,
Sonic Youth,
Pete Rock & C.L. Smooth,
Cameo,
The Saints,
Lou Reed & John Cale,
Alison Limerick,
A Flock of Seagulls,
Accadde A,
B.T. Express,
The J.B.'s,
Lower 48,
The Selecter,
Index,
Thee Headcoats,
Eurythmics,
The Doors,
kango's stein massive,
Technova,
the Bar-Kays,
Barrington Levy,
the Swans,
K-Klass,
China Crisis,
Porter Ricks,
Marine Girls,
The Searchers,
Pantaleimon,
The American Breed,
The United States of America,
Cecil Taylor,
Simply Red,
Ultravox,
Das Ding,
The Blues Magoos,
Bang On A Can,
Nils Olav,
Procol Harum,
The Slits,
Selector Dub Narcotic,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.