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 Antigua and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Mumbai.
I'm losing my edge to the art-school Manila 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 Rufus Thomas to the grunge 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 JFA. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Funkadelic,
Crispian St. Peters,
Public Image Ltd.,
The Selecter,
Godley & Creme,
Blancmange,
U.S. Maple,
The Slackers,
Country Joe & The Fish,
Ohio Players,
John Foxx,
The Blackbyrds,
Aswad,
X-101,
Piero Umiliani,
De La Soul & Jungle Brothers,
Davy DMX,
Don Cherry,
Rotary Connection,
Brand Nubian,
Supertramp,
Fat Boys,
Deutsch Amerikanische Freundschaft,
Adolescents,
Kerrie Biddell,
Agent Orange,
MDC,
Jeff Mills,
Joyce Sims,
DJ Style,
Sonic Youth,
Louis and Bebe Barron,
Tommy Roe,
The Searchers,
Juan Atkins,
Danielle Patucci,
Arab on Radar,
Kenny Larkin,
London Community Gospel Choir,
Joe Finger,
The Birthday Party,
Symarip,
The Smoke,
Nils Olav,
Dead Boys,
Ten City,
Bang On A Can,
The Blues Magoos,
The Residents,
Suicide,
Inner City,
Glenn Branca,
Moss Icon,
LL Cool J,
Pole,
The Walker Brothers,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.