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 Estonia and from Jakarta.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Houston 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 rhodes 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the dance 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 Duran Duran. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Pharaoh Sanders and the Fire Engines,
The Techniques,
Gichy Dan,
Metal Thangz,
The Music Machine,
Jacques Brel,
Alice Coltrane,
The Remains,
Bauhaus,
Steve Hackett,
the Soft Cell,
Sun Ra,
The Chocolate Watch Band,
Stetsasonic,
KRS-One,
Quantec,
Oblivians,
Index,
Hashim,
The Count Five,
The Monks,
Swell Maps,
The Gladiators,
Rowland S Howard / Lydia Lunch,
Fatback Band,
DNA,
LL Cool J,
Joe Finger,
Isaac Hayes,
The Cure,
Hot Snakes,
Kaleidoscope,
Drive Like Jehu,
Roxette,
Yusef Lateef,
Rosa Yemen,
Josef K,
T. Rex,
Mandrill,
Crispian St. Peters,
The Move,
Rites of Spring,
Maleditus Sound,
Grandmaster Flash and the Furious Five,
Television Personalities,
Liaisons Dangereuses,
Tommy Roe,
Vainqueur,
The American Breed,
Public Enemy,
Amon Düül,
Glenn Branca,
The Mojo Men,
Thee Headcoats,
Lee Hazlewood,
Section 25,
Avey Tare,
The Residents,
Todd Rundgren,
Sexual Harrassment,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.