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 Panama and from Delhi.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Kauko Röyhkä ja Narttu to the crunk 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 The Fortunes. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Rhythm & Sound,
Moss Icon,
Franke,
Q65,
The Jesus and Mary Chain,
Sly & The Family Stone,
Parry Music,
T.S.O.L.,
Tubeway Army,
Avey Tare,
Girls At Our Best!,
Tropical Tobacco,
Joyce Sims,
Arcadia,
Sandy B,
Mr. Review,
Unrelated Segments,
Black Sheep,
DeepChord presents Echospace,
Rosa Yemen,
Funkadelic,
Fat Boys,
Throbbing Gristle,
Loose Ends,
UT,
Wasted Youth,
Von Mondo,
Strawberry Alarm Clock,
Major Organ And The Adding Machine,
Zapp,
Marshall Jefferson,
Dead Boys,
Soft Machine,
John Holt,
Vaughan Mason & Crew,
The Remains,
Dual Sessions,
Liaisons Dangereuses,
Brand Nubian,
The Star Department,
Underground Resistance,
Nas,
Fad Gadget,
X-102,
Kool Moe Dee,
The Peanut Butter Conspiracy,
Stiv Bators,
Skriet,
kango's stein massive,
Kings Of Tomorrow,
Gregory Isaacs,
Ludus,
The American Breed,
The Mighty Diamonds,
Amon Düül,
Yusef Lateef,
Eric Copeland,
Louis and Bebe Barron,
James Chance & The Contortions,
Y Pants,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.