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 Nicaragua and from Mumbai.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Kango’s Stein Massive to the funk kids.
I played it at the Troubador.
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 Jerry Gold Smith. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Jandek,
Grandmaster Flash,
Faraquet,
Kevin Saunderson,
Thompson Twins,
Sight & Sound,
The Saints,
David McCallum,
Sparks,
Red Lorry Yellow Lorry,
Gang Gang Dance,
Index,
The Wake,
The Invisible,
Manfred Mann's Earth Band,
The Offenders,
Reuben Wilson,
Jerry Gold Smith,
Jesper Dahlback,
Gil Scott Heron,
Dawn Penn,
Mars,
Sixth Finger,
Camouflage,
Glenn Branca,
Kango’s Stein Massive,
the Normal,
Bootsy Collins,
Soft Machine,
Harmonia,
Blossom Toes,
Charles Mingus,
Infiniti,
Pussy Galore,
Colin Newman,
Tommy Roe,
Rod Modell,
Pharaoh Sanders and the Fire Engines,
The Mighty Diamonds,
Blake Baxter,
Alton Ellis,
Y Pants,
Jimmy McGriff,
Mr. Review,
New York Dolls,
Scientists,
Crime,
Judy Mowatt,
Negative Approach,
Siglo XX,
T. Rex,
Neil Young,
Beasts of Bourbon,
These Immortal Souls,
Kenny Larkin,
Marshall Jefferson,
Vaughan Mason & Crew,
Crooked Eye,
Ultimate Spinach,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.