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 Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Tokyo 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Sandy B to the techno kids.
I played it at the Crocodile.
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 Black Bananas. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Gregory Isaacs 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 '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Mary Jane Girls,
The Martian,
Kenny Larkin,
Saccharine Trust,
Beasts of Bourbon,
Harry Pussy,
The Royal Family And The Poor,
K-Klass,
Joe Smooth,
the Sonics,
Al Stewart,
Flipper,
The Birthday Party,
Yusef Lateef,
Arcadia,
Jerry Gold Smith,
Procol Harum,
Silicon Teens,
Donny Hathaway,
Joey Negro,
Neil Young & Crazy Horse,
Gil Scott Heron,
Smog,
La Düsseldorf,
Scion,
The Evens,
KRS-One,
The Gap Band,
Bill Wells,
48th St. Collective,
Nick Fraelich,
Sugar Minott,
Colin Newman,
Chris & Cosey,
Larry & the Blue Notes,
Wolf Eyes,
Camouflage,
Oblivians,
Royal Trux,
Urselle,
Gregory Isaacs,
Suburban Knight,
Harpers Bizarre,
Scrapy,
Guru Guru,
Leonard Cohen,
Oppenheimer Analysis,
Japan,
Young Marble Giants,
The Slits,
Second Layer,
Lafayette Afro Rock Band,
Ohio Players,
Harmonia,
The J.B.'s,
Lyres,
Lucky Dragons,
The Offenders,
Malaria!,
Ash Ra Tempel,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.