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 Australia and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Stockholm Monsters to the dance 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 The Busters. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
The Durutti Column,
Drive Like Jehu,
MC5,
Rod Modell,
Idris Muhammad,
Lakeside,
Kerrie Biddell,
The Sonics,
Al Stewart,
Ajijia Myrayebe,
Eden Ahbez,
Lou Reed & John Cale,
Masters at Work,
Sunsets and Hearts,
Avey Tare,
Richard Hell and the Voidoids,
X-Ray Spex,
The Evens,
Infiniti,
Terrestrial Tones,
Rapeman,
Stockholm Monsters,
Barclay James Harvest,
Andrew Hill,
Harry Pussy,
Alice Coltrane,
Ituana,
Dorothy Ashby,
Alton Ellis,
Pylon,
Arab on Radar,
Soft Cell,
Suburban Knight,
De La Soul & Jungle Brothers,
The Sisters of Mercy,
Lindisfarne,
Kauko Röyhkä ja Narttu,
Girls At Our Best!,
Sandy B,
The Monks,
Sun Ra,
Angels of Light & Akron/Family,
Sexual Harrassment,
The Real Kids,
Spandau Ballet,
Parry Music,
Marcia Griffiths,
Eve St. Jones,
Marc Almond,
David Bowie,
Junior Murvin,
In Retrospect,
Agent Orange,
the Swans,
L. Decosne,
Trumans Water,
Siglo XX,
Fluxion, Fluxion, Fluxion, Fluxion.
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.