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 Cameroon and from London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Bar-Kays 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 Echospace. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal rap 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 a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Khruangbin,
Intrusion,
F. McDonald,
the Germs,
Roxette,
Vaughan Mason & Crew,
Sly & The Family Stone,
Matthew Bourne,
The Shadows of Knight,
Patti Smith,
Depeche Mode,
Hardrive,
The Young Rascals,
The Sonics,
The Searchers,
James Chance & The Contortions,
Swell Maps,
Eric Dolphy,
A Flock of Seagulls,
The Neon Judgement,
Country Joe & The Fish,
The American Breed,
The Sisters of Mercy,
Bobbi Humphrey,
Vainqueur,
The Move,
Kauko Röyhkä ja Narttu,
Angry Samoans,
48th St. Collective,
Rufus Thomas,
Kerrie Biddell,
Dorothy Ashby,
the Fania All-Stars,
Wire,
Art Ensemble Of Chicago,
Fifty Foot Hose,
Barry Ungar,
The Walker Brothers,
Bluetip,
Kool Moe Dee,
Popol Vuh,
Sight & Sound,
Heavy D & The Boyz,
Bizarre Inc.,
Hasil Adkins,
One Last Wish,
Aswad,
Jesper Dahlback,
Metal Thangz,
Newcleus,
The Litter,
Neil Young,
Jacques Brel,
Susan Cadogan,
Archie Shepp,
The Evens,
Dark Day,
The Index,
B.T. Express,
Motorama,
Scientists, Scientists, Scientists, Scientists.
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.