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 Austria and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Brass Construction to the punk kids.
I played it at CBGB's.
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 Lalo Schifrin. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Country Joe & The Fish,
John Lydon,
Technova,
Grauzone,
The Velvet Underground,
Traffic Nightmare,
The Misunderstood,
The Cramps,
Major Organ And The Adding Machine,
Public Enemy,
Shoche,
The Music Machine,
Todd Rundgren,
Hoover,
Lalann,
New Age Steppers,
Schoolly D,
Massinfluence,
Nick Cave & The Bad Seeds,
Gabor Szabo,
MC5,
Audionom,
The Shadows of Knight,
Arcadia,
One Last Wish,
Boz Scaggs,
Cluster,
Al Stewart,
Amazonics,
Magazine,
Ronnie Foster,
The Stooges,
Sound Behaviour,
Stetsasonic,
Ultravox,
Guru Guru,
The Move,
Pharaoh Sanders and the Fire Engines,
Wally Richardson,
London Community Gospel Choir,
Spoonie Gee,
Supertramp,
Zapp,
the Sonics,
Beasts of Bourbon,
The Sonics,
Babytalk,
Make Up,
Panda Bear,
Fluxion,
Rhythm & Sound,
The Five Americans,
Peter and Kerry,
Röyhkä ja Rättö ja Lehtisalo,
Heavy D & The Boyz,
The Moleskins,
Bobby Hutcherson,
Black Moon,
Janne Schatter,
Jandek,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.