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 Spain and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Delhi 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 marimba 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 Accadde A to the funk 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 Moby Grape. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal rap 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Silicon Teens,
Terry Callier,
These Immortal Souls,
Magazine,
Parry Music,
The Music Machine,
New York Dolls,
Radiohead,
FM Einheit,
Bootsy Collins,
The Dirtbombs,
Barclay James Harvest,
Circle Jerks,
Todd Terry,
Jacques Brel,
Sad Lovers and Giants,
The Offenders,
the Slits,
The Human League,
Newcleus,
The American Breed,
Man Eating Sloth,
Big Daddy Kane,
Spandau Ballet,
The Young Rascals,
Masters at Work,
Marc Almond,
Camberwell Now,
Rotary Connection,
Juan Atkins,
Scott Walker + Sunn O))),
Nick Cave & The Bad Seeds,
Matthew Halsall,
Iggy Pop,
Depeche Mode,
Ash Ra Tempel,
Ponytail,
John Holt,
Gregory Isaacs,
Patti Smith,
Tom Boy,
AZ,
The Walker Brothers,
The Move,
Skriet,
Byron Stingily,
Glambeats Corp.,
Rapeman,
X-102,
Terrestrial Tones,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
London Community Gospel Choir,
Trumans Water,
Minutemen,
Kerri Chandler,
Shuggie Otis,
The Fire Engines,
Judy Mowatt,
Model 500, Model 500, Model 500, Model 500.
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.