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 Norway and from Taipei.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Columbus 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 Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Idris Muhammad to the rap kids.
I played it at the Astoria.
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 Bootsy's Rubber Band. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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,
Wighnomy Brothers & Robag Wruhme,
Kango’s Stein Massive,
The Names,
Vainqueur,
The Residents,
Nick Fraelich,
Dave Gahan,
Hasil Adkins,
DeepChord presents Echospace,
Tim Buckley,
Model 500,
Howard Jones,
Roy Ayers Ubiquity,
Jerry Gold Smith,
John Cale,
L. Decosne,
Drive Like Jehu,
Mission of Burma,
Agent Orange,
Avey Tare's Slasher Flicks,
Rakim,
Lalann,
Glambeats Corp.,
Television Personalities,
Bill Near,
Faust,
Sad Lovers and Giants,
Marvin Gaye,
De La Soul & Jungle Brothers,
Hoover,
Echospace,
X-102,
Isaac Hayes,
Gary Puckett & The Union Gap,
The Litter,
Kauko Röyhkä ja Narttu,
Yaz,
Deutsch Amerikanische Freundschaft,
The Move,
Brass Construction,
LL Cool J,
T. Rex,
Anthony Braxton,
The Five Americans,
Parry Music,
Stetsasonic,
Absolute Body Control,
Pantaleimon,
Warsaw,
Jimmy McGriff,
Sly & The Family Stone,
The Blues Magoos,
Piero Umiliani,
June Days,
Ash Ra Tempel,
Massinfluence,
The Alarm Clocks,
Infiniti,
The Martian,
The Leaves,
Black Pus,
Hardrive, Hardrive, Hardrive, Hardrive.
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.