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 Russia and from Paris.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Columbus 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Dorothy Ashby to the rock kids.
I played it at the Troubador.
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 Zeros. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
The Mighty Diamonds,
Magazine,
Janne Schatter,
Sun Ra Arkestra,
Mars,
Bang On A Can,
Glambeats Corp.,
The Gories,
Davy DMX,
Warsaw,
Crash Course in Science,
Tim Buckley,
Morten Harket,
Aaron Thompson,
Bobby Sherman,
Kango’s Stein Massive,
Tom Boy,
Henry Cow,
The Stooges,
Red Lorry Yellow Lorry,
Beasts of Bourbon,
Fort Wilson Riot,
Stiv Bators,
Johnny Clarke,
The Offenders,
Rahsaan Roland Kirk,
Siglo XX,
Nation of Ulysses,
Louis and Bebe Barron,
Lou Christie,
The Wake,
Aloha Tigers,
Nirvana,
The Human League,
UT,
Andrew Ashong & Theo Parrish,
Ornette Coleman,
Wally Richardson,
Alice Coltrane,
The Neon Judgement,
Guru Guru,
The Jesus and Mary Chain,
Prince Buster,
The Gun Club,
Eric Dolphy,
Shoche,
KRS-One,
The Fire Engines,
Metal Thangz,
The Last Poets,
Deakin,
Sexual Harrassment,
Bill Near,
Smog,
Joe Smooth,
Gang Gang Dance,
The Walker Brothers,
Fat Boys,
Skaos,
The Slits,
Chrome,
Royal Trux,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.