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 Panama and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Beijing 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 Robert Palmer 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 Dorothy Ashby to the jazz kids.
I played it at the Crocodile.
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 The Velvet Underground. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Charles Mingus 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Mojo Men,
Audionom,
Moby Grape,
The Smiths,
Interpol,
Radiopuhelimet,
Charles Mingus,
Newcleus,
Rufus Thomas,
Cluster,
Camberwell Now,
The Litter,
Fort Wilson Riot,
Inner City,
Rakim,
Andrew Ashong & Theo Parrish,
Bootsy's Rubber Band,
Scientists,
Gil Scott Heron,
The Birthday Party,
New York Dolls,
Bizarre Inc.,
Tom Boy,
Ice-T,
Guru Guru,
Minutemen,
Clear Light,
The Music Machine,
Symarip,
The Red Krayola,
Robert Görl,
Neu!,
Albert Ayler,
Ajijia Myrayebe,
Girls At Our Best!,
Radio Birdman,
The Angels of Light,
Babytalk,
Livin' Joy,
The Kinks,
Aural Exciters,
Prince Buster,
Scott Walker,
Lee Hazlewood,
Groovy Waters,
Lower 48,
The Sound,
Siglo XX,
Maurizio,
Thee Headcoats,
Whodini,
Cabaret Voltaire,
Television Personalities,
Ronan,
Marshall Jefferson,
Mad Mike,
Warsaw,
The Toasters,
Red Lorry Yellow Lorry,
Ituana,
Bad Manners,
Anakelly, Anakelly, Anakelly, Anakelly.
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.