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 Uzbekistan and from Seoul.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Hong Kong.
I'm losing my edge to the art-school Lyon 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Ornette Coleman to the rap kids.
I played it at the 40 Watt.
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 The Birthday Party. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Crash Course in Science 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Sisters of Mercy,
Jawbox,
Moebius,
John Holt,
Pete Rock & C.L. Smooth,
Skriet,
Art Ensemble Of Chicago,
Adolescents,
Derrick Morgan,
Notorious BIG live in Amsterdam,
Popol Vuh,
Newcleus,
Barbara Tucker,
Wally Richardson,
Kool Moe Dee,
Metal Thangz,
Saccharine Trust,
Public Image Ltd.,
Ponytail,
Toni Rubio,
Sticky Fingaz feat. Raekwon,
Cameo,
Ken Boothe,
Pet Shop Boys,
The Golliwogs,
The Detroit Cobras,
PIL,
Desert Stars,
Erasure,
the Human League,
The Jesus and Mary Chain,
The Men They Couldn't Hang,
Black Sheep,
Charles Mingus,
Marine Girls,
Avey Tare,
Terry Callier,
Connie Case,
Dennis Brown,
The Shadows of Knight,
Au Pairs,
Gary Puckett & The Union Gap,
Glambeats Corp.,
The Angels of Light,
David McCallum,
Moss Icon,
Sexual Harrassment,
The Knickerbockers,
The Fall,
Animal Collective,
Pierre Henry,
One Last Wish,
Flamin' Groovies,
The Music Machine,
Manfred Mann's Earth Band,
Siouxsie and the Banshees,
The Star Department,
Marc Almond,
Chrome,
Pylon,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.