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 Egypt and from Mumbai.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lagos and Toronto.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Star Department to the rock 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 Freddie Wadling. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Peter and Kerry 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Bang on a Can All-Stars,
Oppenheimer Analysis,
Wire,
Notorious Big And Bone Thugs,
Aswad,
Tropical Tobacco,
Cecil Taylor,
The United States of America,
Zapp,
Malaria!,
Terry Callier,
Reuben Wilson,
Jeff Lynne,
MC5,
World's Most,
Brick,
Soft Machine,
The Litter,
the Germs,
The Divine Comedy,
The Cowsills,
Porter Ricks,
Popol Vuh,
Cabaret Voltaire,
Radiohead,
Sun Ra Arkestra,
Jeru the Damaja,
Red Lorry Yellow Lorry,
Bobbi Humphrey,
AZ,
Spandau Ballet,
Ornette Coleman,
Glambeats Corp.,
Tomorrow,
Thompson Twins,
Kayak,
Jesper Dahlbäck,
Lafayette Afro Rock Band,
Shoche,
Major Organ And The Adding Machine,
Section 25,
Ossler,
Bootsy Collins,
Terror Squad Feat. Camron,
Roger Hodgson,
Au Pairs,
Khruangbin,
Stiv Bators,
The Flesh Eaters,
John Cale,
Black Flag,
Grandmaster Flash and the Furious Five,
Boz Scaggs,
LL Cool J,
Country Joe & The Fish,
Q65,
The Standells,
the Swans,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.