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 Namibia and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Stockholm 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 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 Bill Wells to the rock kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
The Pop Group,
Grey Daturas,
Hashim,
Spandau Ballet,
Subhumans,
Interpol,
Surgeon,
Wasted Youth,
Blake Baxter,
Sparks,
Essential Logic,
Accadde A,
Con Funk Shun,
The Happenings,
Black Moon,
The Angels of Light,
Trumans Water,
Rapeman,
Angels of Light & Akron/Family,
The Cure,
8 Eyed Spy,
Colin Newman,
X-101,
The American Breed,
Section 25,
Rod Modell,
Terrestrial Tones,
B.T. Express,
Q65,
Dennis Brown,
Sonic Youth,
Tim Buckley,
Aaron Thompson,
Captain Beefheart & His Magic Band,
Peter Gordon & Love of Life Orchestra,
Nils Olav,
Sarah Menescal,
Aural Exciters,
The United States of America,
Sight & Sound,
The Litter,
Second Layer,
X-102,
Mary Jane Girls,
The Fugs,
James Chance & The Contortions,
Japan,
Alton Ellis,
Jimmy McGriff,
Visage,
FM Einheit,
The Gap Band,
Reagan Youth,
The Human League,
Curtis Mayfield,
Rahsaan Roland Kirk,
Freddie Wadling,
Magazine,
Excepter,
the Association,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.