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 Bahamas and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 David Axelrod to the crunk kids.
I played it at the 40 Watt.
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 Justin Hinds & The Dominoes. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
X-102,
Lonnie Liston Smith,
Urselle,
Mission of Burma,
Barrington Levy,
Depeche Mode,
Dawn Penn,
Mary Jane Girls,
Mantronix,
Mo-Dettes,
Panda Bear,
Scott Walker,
Reagan Youth,
Ludus,
The Gap Band,
Bush Tetras,
The Shadows of Knight,
Bang On A Can,
PIL,
The Skatalites,
Big Daddy Kane,
Saccharine Trust,
Roger Hodgson,
Alton Ellis,
Wolf Eyes,
Niagra,
The Invisible,
Idris Muhammad,
Boogie Down Productions,
Jerry's Kids,
The Evens,
The American Breed,
Y Pants,
The Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Teenage Jesus and the Jerks,
Susan Cadogan,
Kerrie Biddell,
Andrew Hill,
Gang Starr,
Neu!,
Ultramagnetic MC's,
Kenny Larkin,
Sex Pistols,
Sly & The Family Stone,
Icehouse,
Todd Terry,
Max Romeo,
the Sonics,
Roy Ayers,
Ten City,
Isaac Hayes,
Livin' Joy,
Eric Copeland,
Country Teasers,
Quando Quango,
Grey Daturas,
Aswad,
James White and The Blacks,
Soul II Soul,
The Index, The Index, The Index, The Index.
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.