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 Belarus and from Edmonton.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1973.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Jakarta 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 guitar 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 Whodini to the funk kids.
I played it at CBGB's.
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 The Shadows of Knight. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Grandmaster Flash 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Joe Finger,
DJ Style,
Roy Ayers,
Glenn Branca,
Los Fastidios,
Godley & Creme,
Ornette Coleman,
The Fall,
Johnny Clarke,
Captain Beefheart & His Magic Band,
Ralphi Rosario,
Sandy B,
Teenage Jesus and the Jerks,
The Residents,
The Tremeloes,
Toni Rubio,
Masters at Work,
The Music Machine,
Brick,
Hardrive,
Das Ding,
Siouxsie and the Banshees,
Tears for Fears,
Lungfish,
Television Personalities,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
The Smiths,
The Gun Club,
Scientists,
Pagans,
Gichy Dan,
The Royal Family And The Poor,
The Invisible,
Sparks,
James White and The Blacks,
The Toasters,
Supertramp,
Anthony Braxton,
Strawberry Alarm Clock,
The Detroit Cobras,
Morten Harket,
Accadde A,
Roger Hodgson,
Rosa Yemen,
Fatback Band,
Pulsallama,
LL Cool J,
Mo-Dettes,
Mandrill,
Fluxion,
Ronan,
The Red Krayola,
Fifty Foot Hose,
EPMD,
Au Pairs,
Rakim,
One Last Wish,
Excepter,
Roy Ayers Ubiquity,
Sly & The Family Stone,
Dark Day, Dark Day, Dark Day, Dark Day.
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.