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 Fiji and from Beijing.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Manila 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 güiro 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 Hasil Adkins to the funk 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 Tropical Tobacco. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Joy Division 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Alison Limerick,
Robert Hood,
DJ Sneak,
Heavy D & The Boyz,
Lightning Bolt,
Black Pus,
Japan,
Ultimate Spinach,
Marc Almond,
The Sound,
DeepChord presents Echospace,
Minnie Riperton,
The Selecter,
Cymande,
Bronski Beat,
It's A Beautiful Day,
Delon & Dalcan,
Negative Approach,
T. Rex,
Gong,
Procol Harum,
Slave,
Slick Rick,
Fluxion,
In Retrospect,
8 Eyed Spy,
Joe Smooth,
Spandau Ballet,
The Standells,
Bob Dylan,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
Archie Shepp,
New Order,
UT,
Roy Ayers Ubiquity,
Das Ding,
DJ Style,
The Blackbyrds,
Boogie Down Productions,
Eli Mardock,
Electric Light Orchestra,
Freddie Wadling,
The Trojans,
Kevin Saunderson,
Lou Christie,
Avey Tare's Slasher Flicks,
Model 500,
One Last Wish,
Interpol,
Manfred Mann's Earth Band,
Minutemen,
Dawn Penn,
The Raincoats,
Boredoms,
R.M.O.,
Soft Machine,
Todd Rundgren,
Liliput,
The Red Krayola,
Derrick Morgan,
Technova, Technova, Technova, Technova.
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.