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 Samoa and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Dorothy Ashby to the crunk kids.
I played it at Cafe Wha.
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 Donald Byrd. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Guru Guru,
Eyeless In Gaza,
Massinfluence,
Hashim,
Minor Threat,
Cal Tjader,
The Pop Group,
Robert Hood,
Bill Wells,
Michelle Simonal,
Avey Tare,
Eric B and Rakim,
Ultramagnetic MC's,
Terrestrial Tones,
Jesper Dahlbäck,
Traffic Nightmare,
In Retrospect,
The Divine Comedy,
FM Einheit,
Yellowson,
Circle Jerks,
Morten Harket,
The Raincoats,
Minutemen,
The Human League,
Monolake,
Wings,
Red Lorry Yellow Lorry,
Idris Muhammad,
Dorothy Ashby,
MC5,
Jacques Brel,
The Stooges,
Bizarre Inc.,
CMW,
Marshall Jefferson,
Roy Ayers,
Eddi Front,
David Axelrod,
Fugazi,
LL Cool J,
Crispian St. Peters,
Thee Headcoats,
Ken Boothe,
The Fall,
The Seeds,
The Flesh Eaters,
Al Stewart,
Barbara Tucker,
Major Organ And The Adding Machine,
Brass Construction,
The Music Machine,
Lebanon Hanover,
Kurtis Blow,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
Rakim,
Mad Mike,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.