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 Barbados and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Seoul 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 snare 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 Moebius to the grunge kids.
I played it at the Roxy.
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 Lee Hazlewood. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
The Seeds,
Warsaw,
Davy DMX,
Franke,
Curtis Mayfield,
X-Ray Spex,
Yellowson,
Eric Copeland,
Gil Scott-Heron and Jamie xx,
Henry Cow,
Lizzy Mercier Descloux,
June Days,
Massinfluence,
Matthew Bourne,
Angry Samoans,
Shuggie Otis,
Traffic Nightmare,
Mission of Burma,
F. McDonald,
the Normal,
Arcadia,
Ten City,
Notorious Big And Bone Thugs,
Mad Mike,
Lalo Schifrin,
Lou Reed,
Rhythm & Sound,
Deutsch Amerikanische Freundschaft,
Hoover,
Aswad,
Super Lover Cee & Casanova Rud,
The Count Five,
Metal Thangz,
Don Cherry,
The Standells,
Kevin Saunderson,
The Divine Comedy,
Louis and Bebe Barron,
Idris Muhammad,
Juan Atkins,
Fugazi,
Jeru the Damaja,
Peter and Kerry,
New York Dolls,
Monolake,
Kings Of Tomorrow,
Harpers Bizarre,
DNA,
Blossom Toes,
China Crisis,
Erasure,
Jeff Lynne,
Tommy Roe,
Zero Boys,
The Zeros,
Glambeats Corp.,
Heavy D & The Boyz,
Gian Franco Pienzio,
Absolute Body Control,
Avey Tare,
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.