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 Comoros and from Cairo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Calgary 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 sitar 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 Rakim to the funk kids.
I played it at Cafe Wha.
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 JFA. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Sarah Menescal,
Cecil Taylor,
Rod Modell,
Quadrant,
B.T. Express,
Von Mondo,
Aaron Thompson,
Banda Bassotti,
Neil Young & Crazy Horse,
Amazonics,
Lakeside,
Lower 48,
Sex Pistols,
Al Stewart,
Boredoms,
Siouxsie and the Banshees,
Quantec,
Index,
Organ,
Crispy Ambulance,
Kaleidoscope,
Piero Umiliani,
Cymande,
Bang On A Can,
The Standells,
A Certain Ratio,
Public Enemy,
Yusef Lateef,
Pylon,
Pierre Henry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
Livin' Joy,
Yazoo,
Jesper Dahlbäck,
Negative Approach,
The Invisible,
Sam Rivers,
Henry Cow,
Deakin,
Alton Ellis,
Gil Scott-Heron and Jamie xx,
The Motions,
H. Thieme,
Richard Hell and the Voidoids,
June Days,
Notorious Big And Bone Thugs,
The Vogues,
Crispian St. Peters,
Max Romeo,
The Cosmic Jokers,
Maurizio,
D'Angelo,
Lizzy Mercier Descloux,
Vladislav Delay,
The Flesh Eaters,
Brass Construction,
Accadde A,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.