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 Peru and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1971.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Jakarta 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 808 sounds with much patience.
I was there when Michael McDonald 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 Detroit Cobras to the grime 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 Sight & Sound. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Agitation Free,
Neil Young & Crazy Horse,
Theoretical Girls,
Pharaoh Sanders and the Fire Engines,
Roxette,
Das Ding,
The Sonics,
The Golliwogs,
Jimmy McGriff,
The Offenders,
the Swans,
Oppenheimer Analysis,
Aloha Tigers,
Ornette Coleman,
Main Source,
Zapp,
Pet Shop Boys,
Sandy B,
K-Klass,
Albert Ayler,
Cheater Slicks,
Youth Brigade,
Marvin Gaye,
E-Dancer,
Eve St. Jones,
Tomorrow,
Boz Scaggs,
Dave Gahan,
The Wake,
The Moody Blues,
Monks,
Junior Murvin,
David McCallum,
Unrelated Segments,
Dawn Penn,
Pharoah Sanders,
Radiohead,
Desert Stars,
Kings Of Tomorrow,
The Velvet Underground,
Roy Ayers,
Quando Quango,
The Cramps,
The American Breed,
Cymande,
Electric Prunes,
Boogie Down Productions,
Ultravox,
Dorothy Ashby,
The Trojans,
Leonard Cohen,
Sun Ra,
The Standells,
The Blues Magoos,
Ituana,
Magma,
Sad Lovers and Giants,
Avey Tare's Slasher Flicks,
Neu!,
The West Coast Pop Art Experimental Band,
Marmalade,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.