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 Qatar and from Paris.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 Amazonics to the rap kids.
I played it at the Spitz.
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 Sly & The Family Stone. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Second Layer 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 '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Japan 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?
The Fall,
Thee Headcoats,
Yusef Lateef,
The Martian,
Nas,
Animal Collective,
Ice-T,
Rufus Thomas,
Franke,
Anakelly,
Howard Jones,
Ajijia Myrayebe,
Nils Olav,
Deutsch Amerikanische Freundschaft,
Eve St. Jones,
Godley & Creme,
The Vogues,
Popol Vuh,
Blancmange,
Aural Exciters,
Lafayette Afro Rock Band,
The Blues Magoos,
Sad Lovers and Giants,
Stiv Bators,
Kango’s Stein Massive,
Gang Starr,
Electric Light Orchestra,
The Velvet Underground,
the Normal,
Soul Sonic Force,
the Slits,
Bad Manners,
Pylon,
Radiopuhelimet,
Grandmaster Flash and the Furious Five,
Brass Construction,
Make Up,
Supertramp,
Siglo XX,
Wighnomy Brothers & Robag Wruhme,
Justin Hinds & The Dominoes,
Lungfish,
Gang Gang Dance,
Big Daddy Kane,
CMW,
Kool Moe Dee,
Arab on Radar,
Jimmy McGriff,
Whodini,
Kerri Chandler,
Royal Trux,
Thinking Fellers Union Local 282,
Major Organ And The Adding Machine,
Yazoo,
Ronan,
Rotary Connection,
Rod Modell,
Black Sheep,
the Bar-Kays,
The Red Krayola,
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.