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 Guatemala and from Spokane.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Seoul 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 sitar 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 Tres Demented to the dance kids.
I played it at the Crocodile.
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 Y Pants. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Kas Product 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Quadrant,
Barry Ungar,
Andrew Hill,
The Alarm Clocks,
Delon & Dalcan,
Anthony Braxton,
Stetsasonic,
Joyce Sims,
the Germs,
Toni Rubio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Strawberry Alarm Clock,
Röyhkä ja Rättö ja Lehtisalo,
The Barracudas,
EPMD,
The Golliwogs,
Deutsch Amerikanische Freundschaft,
Agitation Free,
The Invisible,
Leonard Cohen,
The Sonics,
Animal Collective,
The Durutti Column,
Saccharine Trust,
Thinking Fellers Union Local 282,
June of 44,
Rhythim Is Rhythim,
Radiohead,
Maleditus Sound,
Alison Limerick,
Newcleus,
Duran Duran,
The Dirtbombs,
The Gap Band,
Louis and Bebe Barron,
Manfred Mann's Earth Band,
Byron Stingily,
the Fania All-Stars,
David Bowie,
Donny Hathaway,
DeepChord presents Echospace,
The Offenders,
A Flock of Seagulls,
Jesper Dahlbäck,
Danielle Patucci,
Johnny Osbourne,
The Cowsills,
The Toasters,
Terry Callier,
Procol Harum,
These Immortal Souls,
Livin' Joy,
Nas,
Clear Light,
Marcia Griffiths,
The Real Kids,
Make Up,
Arthur Verocai,
H. Thieme,
Japan,
Glambeats Corp.,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.