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 Senegal and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Accra 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 guitar 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 The Offenders to the funk 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 Reagan Youth. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Neil Young & Crazy Horse,
Graham Central Station,
Kas Product,
Soft Machine,
The Fortunes,
Rhythim Is Rhythim,
Gian Franco Pienzio,
Brick,
Eve St. Jones,
Wire,
James Chance & The Contortions,
Lebanon Hanover,
Shoche,
Lee Hazlewood,
The Associates,
Eli Mardock,
Fugazi,
OOIOO,
The Litter,
China Crisis,
The United States of America,
Quadrant,
Loose Ends,
The Victims,
Sandy B,
Dead Boys,
Inner City,
Anthony Braxton,
Lyres,
Zero Boys,
John Lydon,
Marcia Griffiths,
Blossom Toes,
Camberwell Now,
Sly & The Family Stone,
Easy Going,
the Fania All-Stars,
The Evens,
Goldenarms,
Michelle Simonal,
Spoonie Gee,
The Cowsills,
Erasure,
Eric Copeland,
Todd Terry,
Sight & Sound,
Funky Four + One,
The Saints,
Model 500,
Kerri Chandler,
Audionom,
Crispy Ambulance,
Dennis Brown,
Rahsaan Roland Kirk,
Chris Corsano,
Magma,
Alton Ellis,
Niagra,
Man Eating Sloth,
The Happenings,
H. Thieme,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.