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 Equatorial Guinea and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school New York 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 sitar 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 John Holt to the rock 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 Eric B and Rakim. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Prince Buster 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
The Walker Brothers,
The Royal Family And The Poor,
Eurythmics,
Pharaoh Sanders and the Fire Engines,
Hasil Adkins,
The Fuzztones,
The Gap Band,
Hoover,
Shuggie Otis,
Rosa Yemen,
The Doors,
Warren Ellis,
Dawn Penn,
Stereo Dub,
Anthony Braxton,
The Tremeloes,
Los Fastidios,
E-Dancer,
The Last Poets,
Charles Mingus,
Fela Kuti,
The Smiths,
Althea and Donna,
Jesper Dahlback,
Nick Cave & The Bad Seeds,
Aloha Tigers,
Lonnie Liston Smith,
Arcadia,
The Peanut Butter Conspiracy,
Ten City,
Mantronix,
Audionom,
Swans,
Pet Shop Boys,
Godley & Creme,
Zero Boys,
Angry Samoans,
Fugazi,
Derrick Morgan,
Judy Mowatt,
Warsaw,
Goldenarms,
X-101,
Metal Thangz,
Sun Ra Arkestra,
These Immortal Souls,
The Busters,
Ituana,
Au Pairs,
Half Japanese,
DJ Style,
Grandmaster Flash,
Television Personalities,
Grey Daturas,
Robert Hood,
One Last Wish,
Donald Byrd,
Mark Hollis,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
The Detroit Cobras,
Kauko Röyhkä ja Narttu,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.