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 Switzerland and from Salvador.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 Index to the rock kids.
I played it at the Crocodile.
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 Liaisons Dangereuses. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Heaven 17 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Black Sheep,
Bootsy Collins,
Marcia Griffiths,
Sarah Menescal,
Peter Gordon & Love of Life Orchestra,
Ultravox,
Rhythm & Sound,
the Fania All-Stars,
Mars,
Whodini,
Nils Olav,
Lou Christie,
Von Mondo,
The Offenders,
The Trojans,
Big Daddy Kane,
Anthony Braxton,
Guru Guru,
Johnny Osbourne,
Gerry Rafferty,
Electric Prunes,
Harpers Bizarre,
Second Layer,
The Detroit Cobras,
the Swans,
Charles Mingus,
Interpol,
the Slits,
cv313,
Blancmange,
ABC,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
The Black Dice,
JFA,
Black Pus,
De La Soul & Jungle Brothers,
Bill Near,
MDC,
Das Ding,
Ash Ra Tempel,
Manfred Mann's Earth Band,
Captain Beefheart & His Magic Band,
James Chance & The Contortions,
One Last Wish,
X-102,
Skriet,
The Dead C,
Gong,
Eve St. Jones,
Carl Craig,
Nas,
Shuggie Otis,
Public Enemy,
The Remains,
The Misunderstood,
Reagan Youth,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.