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 Latvia and from Bologna.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Angels of Light & Akron/Family to the techno kids.
I played it at the Hacienda.
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 Pretty Things. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Lou Reed,
Livin' Joy,
F. McDonald,
Lizzy Mercier Descloux,
Brass Construction,
Delon & Dalcan,
CMW,
K-Klass,
Selector Dub Narcotic,
MDC,
The Count Five,
The Golliwogs,
A Certain Ratio,
T. Rex,
Gil Scott-Heron & Brian Jackson,
Quando Quango,
Johnny Clarke,
The Dirtbombs,
Camberwell Now,
Rites of Spring,
Sun City Girls,
Essential Logic,
Althea and Donna,
Nick Cave & The Bad Seeds,
The Fire Engines,
Lakeside,
Trumans Water,
James White and The Blacks,
The Birthday Party,
De La Soul & Jungle Brothers,
EPMD,
the Fania All-Stars,
Todd Rundgren,
Marvin Gaye,
Parry Music,
B.T. Express,
Gastr Del Sol,
Don Cherry,
Ultravox,
Kauko Röyhkä ja Narttu,
The Busters,
Super Lover Cee & Casanova Rud,
Sällskapet,
Marshall Jefferson,
Fluxion,
Terry Callier,
Radiohead,
Gichy Dan,
Quadrant,
Tim Buckley,
Chris & Cosey,
Fugazi,
The Sound,
Stetsasonic,
Von Mondo,
Cluster,
Bad Manners,
The Selecter,
Moss Icon,
Kayak,
Black Pus,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.