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 Mexico and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Crooked Eye to the funk kids.
I played it at the Roxy.
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 Steve Hackett. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Justin Hinds & The Dominoes,
Vainqueur,
Jeff Lynne,
Lower 48,
Fifty Foot Hose,
KRS-One,
Bootsy Collins,
The Remains,
Make Up,
Moby Grape,
Mantronix,
Robert Hood,
The Index,
Richard Hell and the Voidoids,
Rhythm & Sound,
Amazonics,
In Retrospect,
Sandy B,
Brothers Johnson,
Siglo XX,
Popol Vuh,
Rufus Thomas,
Rahsaan Roland Kirk,
Red Lorry Yellow Lorry,
Chrome,
the Fania All-Stars,
Au Pairs,
The Modern Lovers,
Lou Reed,
Thompson Twins,
Jimmy McGriff,
The Flesh Eaters,
Inner City,
Pagans,
Bronski Beat,
The Moody Blues,
Rites of Spring,
the Human League,
Lonnie Liston Smith,
Rekid,
Masters at Work,
The Dave Clark Five,
Nick Fraelich,
John Cale,
Bobby Womack,
Radiopuhelimet,
Fatback Band,
Ronan,
Alton Ellis,
Sarah Menescal,
Brick,
Mo-Dettes,
Sister Nancy,
Wolf Eyes,
Country Teasers,
The Offenders,
Ossler,
Avey Tare & Kría Brekkan,
The Music Machine,
the Normal,
Eddi Front,
Juan Atkins,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.