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 Cyprus and from Taipei.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school Edmonton 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 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 Roy Ayers Ubiquity to the funk kids.
I played it at the Astoria.
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 Mad Mike. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Ohio Players,
Carl Craig,
Robert Hood,
The Invisible,
Connie Case,
This Heat,
Monolake,
Grandmaster Flash,
The Doors,
Eurythmics,
The Peanut Butter Conspiracy,
Scrapy,
Simply Red,
Moby Grape,
Rites of Spring,
Strawberry Alarm Clock,
Anthony Braxton,
Jeru the Damaja,
Grandmaster Flash and the Furious Five,
Matthew Halsall,
The Skatalites,
The Electric Prunes,
Harpers Bizarre,
Mandrill,
Tubeway Army,
Massinfluence,
a-ha,
Model 500,
Isaac Hayes,
Skarface,
Eli Mardock,
Reuben Wilson,
Brand Nubian,
Scan 7,
The Divine Comedy,
Agitation Free,
Visionaries,LMNO, T- Love & Iriscience,
Pierre Henry,
the Normal,
Junior Murvin,
The Moody Blues,
Pharoah Sanders,
Swans,
Bad Manners,
The Monochrome Set,
Rotary Connection,
Davy DMX,
The Modern Lovers,
Lou Christie,
Bluetip,
Dorothy Ashby,
Rufus Thomas,
The Zeros,
Gregory Isaacs,
Alton Ellis,
Funkadelic,
Jawbox,
Neu!,
OOIOO,
Radiopuhelimet,
Wire,
Magazine,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.