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 Costa Rica and from Accra.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 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 Jacques Brel to the electroclash kids.
I played it at the 40 Watt.
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 Blake Baxter. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Tommy Roe,
Monolake,
Joensuu 1685,
Don Cherry,
Rhythm & Sound,
Circle Jerks,
EPMD,
Stiv Bators,
Röyhkä ja Rättö ja Lehtisalo,
Monks,
10cc,
Rowland S Howard / Lydia Lunch,
Dennis Brown,
Arab on Radar,
Accadde A,
Rekid,
Johnny Osbourne,
Schoolly D,
the Slits,
Nirvana,
Porter Ricks,
June Days,
Desert Stars,
Icehouse,
Beasts of Bourbon,
Neil Young & Crazy Horse,
John Holt,
The Pop Group,
The Invisible,
The Stooges,
Grauzone,
Slick Rick,
Minny Pops,
Roy Ayers Ubiquity,
The West Coast Pop Art Experimental Band,
Neil Young,
the Human League,
Bad Manners,
Robert Görl,
Bill Near,
U.S. Maple,
Scott Walker,
Tom Boy,
The Slits,
the Normal,
Mars,
Manfred Mann's Earth Band,
Sight & Sound,
The Monks,
The Alarm Clocks,
Boogie Down Productions,
Ohio Players,
Swans,
The Residents,
Theoretical Girls,
FM Einheit,
Aural Exciters,
Andrew Hill,
Toni Rubio,
Unrelated Segments,
Cecil Taylor,
The Detroit Cobras,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.