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 Botswana and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school New York 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 rhodes 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 Cymande to the electroclash kids.
I played it at the Troubador.
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 Dead C. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Quando Quango,
Sunsets and Hearts,
The Angels of Light,
Robert Hood,
Spandau Ballet,
ABBA,
Lee Hazlewood,
Marine Girls,
Susan Cadogan,
Outsiders,
Yusef Lateef,
Masters at Work,
Kings Of Tomorrow,
Alice Coltrane,
John Coltrane,
Japan,
The Fuzztones,
June of 44,
Cymande,
Aaron Thompson,
Model 500,
Hashim,
Sister Nancy,
Marvin Gaye,
Kauko Röyhkä ja Narttu,
Bobby Womack,
Brass Construction,
The Gap Band,
Marc Romboy vs. Booka Shade,
Manfred Mann's Earth Band,
Gil Scott-Heron and Jamie xx,
Cluster,
Oneida,
Funky Four + One,
Moby Grape,
Crime,
Pere Ubu,
Albert Ayler,
Carl Craig,
Joensuu 1685,
Livin' Joy,
Slick Rick,
Lizzy Mercier Descloux,
The Blackbyrds,
Crispian St. Peters,
Larry & the Blue Notes,
Pierre Henry,
Aural Exciters,
Tomorrow,
Suicide,
The Litter,
Terror Squad Feat. Camron,
Faraquet,
Pulsallama,
Lucky Dragons,
Black Bananas,
Average White Band,
Brand Nubian,
The Seeds,
Harpers Bizarre,
Echospace,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.