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 Mauritania and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Seoul 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 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 Techniques to the grunge kids.
I played it at the Roxy.
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 Unrelated Segments. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Little Man 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Henry Cow,
Frankie Knuckles,
Kurtis Blow,
Brand Nubian,
Ash Ra Tempel,
Stockholm Monsters,
Barry Ungar,
Panda Bear,
Public Image Ltd.,
Marc Almond,
Jandek,
Tears for Fears,
Bobby Byrd,
Kas Product,
Prince Buster,
The Fire Engines,
Lindisfarne,
Pantaleimon,
Oppenheimer Analysis,
The Flesh Eaters,
Lucky Dragons,
The Fall,
Minnie Riperton,
Urselle,
Model 500,
Magazine,
Notorious Big And Bone Thugs,
Wighnomy Brothers & Robag Wruhme,
Terry Callier,
The Doors,
Lalo Schifrin,
The Saints,
Q and Not U,
Liaisons Dangereuses,
Procol Harum,
Silicon Teens,
The Cramps,
Max Romeo,
Minutemen,
Sun Ra,
Sight & Sound,
Rotary Connection,
Niagra,
Eurythmics,
The Gladiators,
The New Christs,
The Dead C,
Delon & Dalcan,
The Seeds,
The Litter,
Scientists,
The Searchers,
10cc,
Fluxion,
Shuggie Otis,
Soft Machine,
Maurizio,
Charles Mingus,
Bronski Beat,
U.S. Maple,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.