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 Singapore 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 1960 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Selector Dub Narcotic to the grunge kids.
I played it at the Spitz.
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 Urselle. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Joy Division 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Deepchord,
Suicide,
Dual Sessions,
Maurizio,
The Names,
Mad Mike,
Niagra,
Quadrant,
The Golliwogs,
Ronnie Foster,
Flamin' Groovies,
Jesper Dahlback,
Maleditus Sound,
Jerry's Kids,
The Sisters of Mercy,
The Offenders,
The Mighty Diamonds,
Barclay James Harvest,
Steve Hackett,
Echospace,
Brick,
Jacob Miller,
The Techniques,
Panda Bear,
Brass Construction,
The Smiths,
In Retrospect,
Q and Not U,
Wolf Eyes,
Motorama,
DNA,
Aswad,
Pharoah Sanders,
Spoonie Gee,
Main Source,
Scrapy,
Das Ding,
The Raincoats,
The Neon Judgement,
Charles Mingus,
Neil Young,
James Chance & The Contortions,
Vaughan Mason & Crew,
Soulsonic Force,
The Gladiators,
Los Fastidios,
Black Moon,
Intrusion,
Negative Approach,
The Stooges,
Simply Red,
Desert Stars,
Mo-Dettes,
Rapeman,
Radiohead,
Ultimate Spinach,
Porter Ricks,
Super Lover Cee & Casanova Rud,
Bad Manners,
Eddi Front,
Pharaoh Sanders and the Fire Engines,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.