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 Italy and from Mexico City.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the clarinet 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 Eric Dolphy to the jazz kids.
I played it at the Astoria.
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 Avey Tare & Kría Brekkan. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Bang On A Can,
The Mummies,
Delon & Dalcan,
The Remains,
Crime,
The Barracudas,
Graham Central Station,
E-Dancer,
Ralphi Rosario,
ABBA,
Tim Buckley,
KRS-One,
The Pretty Things,
The Fugs,
Michelle Simonal,
Lou Reed,
Wally Richardson,
The Trojans,
Swell Maps,
Joey Negro,
Bill Near,
Interpol,
The Detroit Cobras,
Joe Finger,
Gong,
Brothers Johnson,
Thinking Fellers Union Local 282,
DeepChord presents Echospace,
Pussy Galore,
Jeru the Damaja,
Letta Mbulu,
Barry Ungar,
Model 500,
June of 44,
Aural Exciters,
Gil Scott Heron,
The Gap Band,
The Slackers,
Gang of Four,
Orchestral Manoeuvres in the Dark,
Tubeway Army,
Sixth Finger,
Royal Trux,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jacob Miller,
Fort Wilson Riot,
La Düsseldorf,
Underground Resistance,
Procol Harum,
Maurizio,
Drive Like Jehu,
Bobby Womack,
Pet Shop Boys,
Masters at Work,
Cal Tjader,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.