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 Tajikistan and from Edmonton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Houston 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 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 Slave to the grime 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 Hot Snakes. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Los Fastidios 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Schoolly D,
Roy Ayers Ubiquity,
Barbara Tucker,
The Detroit Cobras,
The Angels of Light,
the Fania All-Stars,
Funky Four + One,
E-Dancer,
Selector Dub Narcotic,
DJ Style,
Sister Nancy,
Jesper Dahlbäck,
Rod Modell,
The Sound,
The Cowsills,
Eric Copeland,
Deepchord,
Jacques Brel,
Sun City Girls,
Stetsasonic,
Andrew Ashong & Theo Parrish,
The Monochrome Set,
The Mummies,
X-102,
Todd Terry,
Rosa Yemen,
Country Teasers,
ABC,
The Busters,
Neu!,
Silicon Teens,
Marmalade,
Kurtis Blow,
Juan Atkins,
The Index,
Aural Exciters,
The Barracudas,
The Peanut Butter Conspiracy,
Whodini,
Sugar Minott,
The West Coast Pop Art Experimental Band,
Piero Umiliani,
Leonard Cohen,
World's Most,
The Fortunes,
The Zeros,
Bauhaus,
Fifty Foot Hose,
Althea and Donna,
X-101,
Mark Hollis,
Magazine,
Yellowson,
Vladislav Delay,
Tommy Roe,
The Blues Magoos,
Jesper Dahlback,
The Human League,
James White and The Blacks,
Nico,
Monks, Monks, Monks, Monks.
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.