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 Micronesia and from Manchester.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Blackbyrds to the grunge kids.
I played it at CBGB's.
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 Boogie Down Productions. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Nas 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 '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Monks,
Marshall Jefferson,
Harry Pussy,
Teenage Jesus and the Jerks,
Public Enemy,
the Fania All-Stars,
the Human League,
Nick Cave & The Bad Seeds,
Zero Boys,
Deepchord,
Babytalk,
Grey Daturas,
The American Breed,
The Walker Brothers,
The Young Rascals,
Selector Dub Narcotic,
Andrew Ashong & Theo Parrish,
Eurythmics,
The Dave Clark Five,
Little Man,
Au Pairs,
Lafayette Afro Rock Band,
Mandrill,
The United States of America,
Mary Jane Girls,
Rosa Yemen,
Jerry Gold Smith,
Depeche Mode,
The Gun Club,
These Immortal Souls,
Amon Düül,
The Standells,
Sparks,
Lalann,
A Flock of Seagulls,
Smog,
Camouflage,
James White and The Blacks,
Al Stewart,
The Doors,
Eddi Front,
Simply Red,
The Victims,
Sugar Minott,
Rahsaan Roland Kirk,
Bill Near,
Marmalade,
Soul II Soul,
Robert Hood,
Vladislav Delay,
Larry & the Blue Notes,
Icehouse,
Schoolly D,
Eli Mardock,
Japan,
Agent Orange,
Loose Ends,
Oblivians,
Peter Gordon & Love of Life Orchestra,
Lee Hazlewood,
The Sound,
Fort Wilson Riot,
Art Ensemble Of Chicago,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.