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 Mexico and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 The Angels of Light to the disco kids.
I played it at the Hacienda.
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 Flamin' Groovies. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
The Standells,
Lizzy Mercier Descloux,
Basic Channel,
Fort Wilson Riot,
Neil Young,
Grandmaster Flash and the Furious Five,
Surgeon,
Das Ding,
The Pop Group,
Country Teasers,
Isaac Hayes,
Barbara Tucker,
Minnie Riperton,
Bill Near,
Black Bananas,
John Foxx,
The Five Americans,
Electric Prunes,
Lower 48,
8 Eyed Spy,
Rhythm & Sound,
Harmonia,
The Smoke,
The Cowsills,
Marmalade,
Avey Tare & Kría Brekkan,
Lee Hazlewood,
Bobby Hutcherson,
Mad Mike,
Heavy D & The Boyz,
Patti Smith,
ABC,
Nas,
Warsaw,
Danielle Patucci,
Mo-Dettes,
Con Funk Shun,
Alton Ellis,
Crispian St. Peters,
Q and Not U,
R.M.O.,
Bronski Beat,
Barclay James Harvest,
Interpol,
Oneida,
Sam Rivers,
Gary Puckett & The Union Gap,
Gang Green,
Cluster,
Fugazi,
Kaleidoscope,
Bush Tetras,
Negative Approach,
Roxy Music,
The Doobie Brothers,
Public Image Ltd.,
Severed Heads,
Sound Behaviour,
Lalann,
Bootsy's Rubber Band,
Drive Like Jehu,
Dorothy Ashby,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.