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 Bahrain 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 1967 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Funky Four + One to the techno 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 One Last Wish. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Jesper Dahlback 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 '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
DJ Sneak,
Lee Hazlewood,
The Wake,
The Young Rascals,
Matthew Halsall,
Bill Wells,
Arthur Verocai,
Pierre Henry,
Ultramagnetic MC's,
Niagra,
Stereo Dub,
Soft Machine,
The Techniques,
Avey Tare & Kría Brekkan,
Morten Harket,
Cecil Taylor,
Scan 7,
Minutemen,
Barclay James Harvest,
Mary Jane Girls,
Supertramp,
Sly & The Family Stone,
The Fugs,
Alice Coltrane,
Sun Ra Arkestra,
Visionaries,LMNO, T- Love & Iriscience,
The Beau Brummels,
Cameo,
Tubeway Army,
Dark Day,
Theoretical Girls,
Erasure,
Judy Mowatt,
Boz Scaggs,
Electric Light Orchestra,
Sight & Sound,
Todd Rundgren,
Wire,
Ultravox,
Dawn Penn,
Sugar Minott,
Excepter,
Quadrant,
the Sonics,
CMW,
Barry Ungar,
Dead Boys,
Public Image Ltd.,
K-Klass,
Camberwell Now,
The Martian,
The Victims,
Rufus Thomas,
Au Pairs,
Rhythm & Sound,
Aswad,
Von Mondo,
Roxy Music,
Maurizio,
Anakelly,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.