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 Maldives and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
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 linndrum 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 Absolute Body Control to the rap 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 E-Dancer. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
The Associates,
Y Pants,
Peter Gordon & Love of Life Orchestra,
Babytalk,
Nirvana,
Sexual Harrassment,
Lower 48,
The Neon Judgement,
Ice-T,
Jesper Dahlbäck,
Brothers Johnson,
Motorama,
Thinking Fellers Union Local 282,
It's A Beautiful Day,
Oneida,
Sällskapet,
Jacques Brel,
The Stooges,
Urselle,
World's Most,
Laurel Aitken,
Qualms,
The Mummies,
Cameo,
Barry Ungar,
Yellowson,
Gang of Four,
Basic Channel,
Ash Ra Tempel,
Ultravox,
Piero Umiliani,
Newcleus,
Half Japanese,
Minnie Riperton,
The Litter,
Pharaoh Sanders and the Fire Engines,
Skaos,
Avey Tare's Slasher Flicks,
Blossom Toes,
Gichy Dan,
The Moody Blues,
The West Coast Pop Art Experimental Band,
Rakim,
X-102,
Kool G Rap & DJ Polo,
Soft Machine,
Radio Birdman,
Soulsonic Force,
Popol Vuh,
Kurtis Blow,
Kevin Saunderson,
Kenny Larkin,
Spoonie Gee,
Moss Icon,
Eli Mardock,
Oppenheimer Analysis,
FM Einheit,
Siouxsie and the Banshees,
Public Enemy,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.