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 Morocco and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Accra.
I'm losing my edge to the art-school Portland 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 linndrum 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 Pussy Galore to the punk 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 Theoretical Girls. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Pete Rock & C.L. Smooth,
Fort Wilson Riot,
Tears for Fears,
John Coltrane,
Gil Scott Heron,
Quando Quango,
Bobby Womack,
Basic Channel,
Bronski Beat,
Parry Music,
Mary Jane Girls,
Ultramagnetic MC's,
Kango’s Stein Massive,
The Shadows of Knight,
Excepter,
Sound Behaviour,
Panda Bear,
Jesper Dahlback,
The Moody Blues,
Reuben Wilson,
Dark Day,
The Chocolate Watch Band,
The Offenders,
Fatback Band,
Laurel Aitken,
The Vogues,
Electric Light Orchestra,
Jimmy McGriff,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anakelly,
Dead Boys,
Heaven 17,
Second Layer,
Ornette Coleman,
Idris Muhammad,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
Derrick May,
the Soft Cell,
Main Source,
Kayak,
Grey Daturas,
R.M.O.,
Pussy Galore,
Rhythm & Sound,
The Evens,
A Flock of Seagulls,
Richard Hell and the Voidoids,
Lebanon Hanover,
Vladislav Delay,
Severed Heads,
Faust,
Minny Pops,
Angels of Light & Akron/Family,
Lungfish,
Sticky Fingaz feat. Raekwon,
Letta Mbulu,
Niagra,
James Chance & The Contortions,
Roxette,
The Stooges,
Pierre Henry,
Hashim, Hashim, Hashim, Hashim.
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.