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 Nepal and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 at the first Suicide practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Ajijia Myrayebe to the crunk kids.
I played it at CBGB's.
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 Lyres. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Bootsy Collins 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Cybotron,
Supertramp,
Funkadelic,
Stiv Bators,
Alton Ellis,
Smog,
Newcleus,
Ornette Coleman,
Man Eating Sloth,
Jawbox,
Lungfish,
The Tremeloes,
Barrington Levy,
Pole,
Jeff Mills,
Fifty Foot Hose,
MDC,
Trumans Water,
Graham Central Station,
Max Romeo,
Terrestrial Tones,
Television,
Mantronix,
Jeff Lynne,
Sun Ra Arkestra,
Notorious BIG live in Amsterdam,
Josef K,
Tim Buckley,
Sex Pistols,
Gian Franco Pienzio,
The Mojo Men,
Con Funk Shun,
Silicon Teens,
Grauzone,
Young Marble Giants,
The Durutti Column,
Technova,
David Axelrod,
Amon Düül,
The Residents,
The Mummies,
Nick Fraelich,
Agent Orange,
Colin Newman,
Blake Baxter,
Niagra,
Mr. Review,
Sly & The Family Stone,
Bluetip,
Minnie Riperton,
Electric Prunes,
Donald Byrd,
Crispy Ambulance,
Television Personalities,
Absolute Body Control,
Siouxsie and the Banshees,
World's Most,
The Gladiators,
Animal Collective,
Monks,
Kevin Saunderson,
Marshall Jefferson,
The Standells,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.