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 Guinea-Bissau and from Toronto.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Arab on Radar to the electroclash kids.
I played it at CBGB's.
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 Dorothy Ashby. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Mad Mike 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Black Flag,
Sad Lovers and Giants,
Johnny Clarke,
CMW,
Tears for Fears,
The Dead C,
It's A Beautiful Day,
Lafayette Afro Rock Band,
Ronnie Foster,
Skarface,
Fear,
Captain Beefheart & His Magic Band,
Colin Newman,
Quando Quango,
Grandmaster Flash and the Furious Five,
Kaleidoscope,
The Red Krayola,
Cameo,
Warsaw,
Pere Ubu,
Terry Callier,
Mantronix,
Gang Green,
James White and The Blacks,
Fugazi,
Blancmange,
Brothers Johnson,
Marvin Gaye,
John Lydon,
The Cramps,
Skriet,
Selector Dub Narcotic,
Janne Schatter,
Nation of Ulysses,
Robert Hood,
Procol Harum,
The Count Five,
Scion,
Half Japanese,
Black Pus,
L. Decosne,
Eurythmics,
Sight & Sound,
Isaac Hayes,
Jacob Miller,
Underground Resistance,
Lakeside,
Minor Threat,
Mandrill,
Rekid,
The Doobie Brothers,
Swans,
Kings Of Tomorrow,
Anakelly,
The Monochrome Set,
EPMD,
Grauzone,
Circle Jerks,
Fad Gadget,
Guru Guru,
Thee Headcoats,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.