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 Serbia and from London.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 Jacob Miller to the grime kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Leonard Cohen,
The Divine Comedy,
Nik Kershaw,
Ossler,
Barclay James Harvest,
Ornette Coleman,
Bang on a Can All-Stars,
Vladislav Delay,
Gregory Isaacs,
Slave,
Metal Thangz,
Livin' Joy,
The Residents,
Pharaoh Sanders and the Fire Engines,
Janne Schatter,
Art Ensemble Of Chicago,
Echospace,
June of 44,
Stockholm Monsters,
Tom Boy,
Qualms,
Todd Terry,
The Fuzztones,
Chris & Cosey,
Anakelly,
Rites of Spring,
Johnny Clarke,
The United States of America,
Gong,
Ludus,
Gil Scott-Heron and Jamie xx,
Alphaville,
Scratch Acid,
Ajijia Myrayebe,
The Knickerbockers,
H. Thieme,
Richard Hell and the Voidoids,
Mars,
Inner City,
Aural Exciters,
Avey Tare,
Fatback Band,
Bill Wells,
Man Eating Sloth,
OOIOO,
Kerrie Biddell,
Youth Brigade,
The Buckinghams,
Rotary Connection,
Marc Almond,
The Doobie Brothers,
The Gap Band,
Sixth Finger,
ABC,
Icehouse,
Rahsaan Roland Kirk,
Big Daddy Kane,
Frankie Knuckles,
10cc,
Liaisons Dangereuses,
the Slits,
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.