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 Albania and from Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Jakarta 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 Holger Czukay 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 Ossler to the dance kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every 10cc 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Tomorrow,
Kenny Larkin,
10cc,
Visionaries,LMNO, T- Love & Iriscience,
Thee Headcoats,
F. McDonald,
the Human League,
The Techniques,
Frankie Knuckles,
Hasil Adkins,
Youth Brigade,
The Remains,
The Slits,
A Certain Ratio,
Man Eating Sloth,
Neil Young & Crazy Horse,
Crime,
Throbbing Gristle,
Jerry's Kids,
Eyeless In Gaza,
Public Image Ltd.,
Hot Snakes,
The Cosmic Jokers,
Scrapy,
Lakeside,
The Evens,
Janne Schatter,
Sam Rivers,
Andrew Hill,
Mission of Burma,
Swell Maps,
Alphaville,
Unrelated Segments,
The Skatalites,
Siglo XX,
Public Enemy,
Slick Rick,
John Cale,
Sun Ra Arkestra,
a-ha,
Nico,
Peter & Gordon,
Amazonics,
Minnie Riperton,
Negative Approach,
The Raincoats,
Pharoah Sanders,
Stiv Bators,
Marc Almond,
Funky Four + One,
ABC,
Moebius,
Derrick May,
The Residents,
Bill Wells,
The Men They Couldn't Hang,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Mighty Diamonds,
Brick,
DNA,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.