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 Togo and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Woodstock 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 synthesizer 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 Minnie Riperton to the grunge kids.
I played it at the Roxy.
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 Toni Rubio. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Be Bop Deluxe,
Stockholm Monsters,
E-Dancer,
Eric Copeland,
H. Thieme,
Procol Harum,
D'Angelo,
Gian Franco Pienzio,
Mr. Review,
Gil Scott-Heron & Brian Jackson,
Thinking Fellers Union Local 282,
Lindisfarne,
Gastr Del Sol,
Don Cherry,
Soul Sonic Force,
Au Pairs,
T. Rex,
Funkadelic,
Pantaleimon,
Masters at Work,
Henry Cow,
Aaron Thompson,
Cecil Taylor,
Lucky Dragons,
Kango’s Stein Massive,
Qualms,
Danielle Patucci,
The Golliwogs,
The Remains,
The Litter,
The Grass Roots,
The Slackers,
Kings Of Tomorrow,
KRS-One,
Al Stewart,
Teenage Jesus and the Jerks,
Liaisons Dangereuses,
The Smoke,
June of 44,
Gichy Dan,
Hot Snakes,
Japan,
The Human League,
Fugazi,
Lou Reed & John Cale,
Deadbeat,
Flamin' Groovies,
Terrestrial Tones,
Camberwell Now,
Public Enemy,
Stetsasonic,
Newcleus,
It's A Beautiful Day,
Louis and Bebe Barron,
Chris Corsano,
Rakim,
FM Einheit,
Junior Murvin,
The Mighty Diamonds,
Scott Walker + Sunn O))),
Negative Approach,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hoover, Hoover, Hoover, Hoover.
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.