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 South Sudan and from Portland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 The Tremeloes to the rock 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 Walker Brothers. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Terry Callier 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 '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Funkadelic,
The Selecter,
Lalo Schifrin,
The Velvet Underground,
The Royal Family And The Poor,
Minny Pops,
Ohio Players,
R.M.O.,
Gang Gang Dance,
Scott Walker,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Eli Mardock,
David McCallum,
The Move,
The Barracudas,
Circle Jerks,
Eric B and Rakim,
Rhythm & Sound,
Judy Mowatt,
Jesper Dahlback,
The Motions,
Q and Not U,
Sällskapet,
Ajijia Myrayebe,
Excepter,
Ponytail,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
Camron Feat. Jay Z And Juelz,
Ten City,
Blancmange,
Minor Threat,
the Bar-Kays,
Amon Düül II,
Mark Hollis,
Carl Craig,
Red Lorry Yellow Lorry,
Shoche,
Anthony Braxton,
Neu!,
Susan Cadogan,
June Days,
Essential Logic,
Todd Rundgren,
Stereo Dub,
Outsiders,
Guru Guru,
Todd Terry,
Hardrive,
Radiopuhelimet,
Arcadia,
Skaos,
Crime,
The Modern Lovers,
Tom Boy,
Spandau Ballet,
Maleditus Sound,
Moby Grape,
Franke,
The Residents,
Pylon,
The Slits, The Slits, The Slits, The Slits.
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.