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 Iraq and from Jakarta.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Milan 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 snare sounds with much patience.
I was there when Holger Czukay 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 Music Machine to the crunk 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 Lyres. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Zero Boys,
8 Eyed Spy,
Spandau Ballet,
The Count Five,
Fatback Band,
Glenn Branca,
Main Source,
Peter and Kerry,
Joe Finger,
Bush Tetras,
Outsiders,
Dawn Penn,
Con Funk Shun,
The Motions,
Ash Ra Tempel,
Magma,
Audionom,
Rufus Thomas,
Susan Cadogan,
Mandrill,
Jacob Miller,
Siglo XX,
Deutsch Amerikanische Freundschaft,
Rapeman,
Junior Murvin,
Jeru the Damaja,
the Association,
Unwound,
Kevin Saunderson,
The Mojo Men,
Angels of Light & Akron/Family,
The Beau Brummels,
Alison Limerick,
Interpol,
Kenny Larkin,
Animal Collective,
The Flesh Eaters,
Jerry Gold Smith,
Chris & Cosey,
Franke,
X-101,
Surgeon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Idris Muhammad,
Man Eating Sloth,
Oblivians,
Livin' Joy,
Lou Reed,
Rahsaan Roland Kirk,
Crime,
Masters at Work,
Super Lover Cee & Casanova Rud,
Eric Dolphy,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
Bizarre Inc.,
The Angels of Light,
Joey Negro,
Guru Guru,
Lou Reed & John Cale,
Sandy B,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.