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 Costa Rica and from Lille.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 The Slackers to the techno kids.
I played it at Trash.
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 New Age Steppers. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Scratch Acid,
Bush Tetras,
Gian Franco Pienzio,
Eve St. Jones,
Gil Scott Heron,
Neil Young & Crazy Horse,
Tommy Roe,
Young Marble Giants,
Fela Kuti,
Sam Rivers,
FM Einheit,
Lucky Dragons,
Make Up,
Bobby Sherman,
Negative Approach,
The Men They Couldn't Hang,
Gang Green,
Rekid,
Visage,
Lou Reed,
Bill Near,
UT,
Crispian St. Peters,
Shuggie Otis,
Joey Negro,
Slick Rick,
China Crisis,
Nirvana,
Lafayette Afro Rock Band,
Fluxion,
Reagan Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
T. Rex,
The Zeros,
Heaven 17,
Average White Band,
Siouxsie and the Banshees,
James Chance & The Contortions,
Parry Music,
Chrome,
Talk Talk,
Swell Maps,
Con Funk Shun,
The Fuzztones,
Los Fastidios,
Bronski Beat,
Maurizio,
Scott Walker,
The Index,
48th St. Collective,
Arab on Radar,
Fifty Foot Hose,
Bootsy's Rubber Band,
The Happenings,
Barclay James Harvest,
Hasil Adkins,
Adolescents,
In Retrospect,
Mandrill, Mandrill, Mandrill, Mandrill.
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.