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 Honduras and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Isaac Hayes to the dance 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 Roxette. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Echo & the Bunnymen,
Crash Course in Science,
Bobby Byrd,
Essential Logic,
Rekid,
The United States of America,
Hasil Adkins,
Sam Rivers,
Minutemen,
Absolute Body Control,
Young Marble Giants,
The Alarm Clocks,
Crooked Eye,
Stockholm Monsters,
Dave Gahan,
the Germs,
Fort Wilson Riot,
Marmalade,
EPMD,
The Invisible,
The Divine Comedy,
Ultimate Spinach,
Rahsaan Roland Kirk,
Gang of Four,
The Smoke,
Don Cherry,
Section 25,
Mr. Review,
Harpers Bizarre,
Radiohead,
A Flock of Seagulls,
John Lydon,
New Age Steppers,
Gary Puckett & The Union Gap,
Bob Dylan,
Suburban Knight,
MDC,
Toni Rubio,
The Residents,
Skaos,
Pharaoh Sanders and the Fire Engines,
Audionom,
Lizzy Mercier Descloux,
Parry Music,
The Barracudas,
Sandy B,
Red Lorry Yellow Lorry,
Soft Cell,
Los Fastidios,
The Red Krayola,
Heaven 17,
Jimmy McGriff,
Khruangbin,
The Birthday Party,
Unwound,
Kauko Röyhkä ja Narttu,
Brick,
Bobby Womack,
Boz Scaggs,
X-102,
Letta Mbulu,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.