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 Iran 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 1965 to 1979.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Stockholm Monsters to the funk kids.
I played it at Trash.
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 Germs. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Masters at Work,
The Stooges,
The Jesus and Mary Chain,
Ice-T,
Major Organ And The Adding Machine,
Mary Jane Girls,
Ultimate Spinach,
Soulsonic Force,
Larry & the Blue Notes,
Drexciya,
Liliput,
Franke,
MDC,
Kayak,
Supertramp,
The Real Kids,
Rosa Yemen,
A Flock of Seagulls,
Gary Puckett & The Union Gap,
Ultravox,
Nico,
Loose Ends,
Babytalk,
Teenage Jesus and the Jerks,
Avey Tare's Slasher Flicks,
Eric Dolphy,
Curtis Mayfield,
The J.B.'s,
Nirvana,
Marine Girls,
Drive Like Jehu,
Joe Smooth,
Rotary Connection,
Nas,
Roy Ayers Ubiquity,
Graham Central Station,
Prince Buster,
Harry Pussy,
Isaac Hayes,
Ornette Coleman,
Pete Rock & C.L. Smooth,
Hot Snakes,
Panda Bear,
Nik Kershaw,
Hasil Adkins,
Newcleus,
The Raincoats,
Juan Atkins,
Maleditus Sound,
The Sonics,
Skriet,
The Durutti Column,
La Düsseldorf,
Oblivians,
Joensuu 1685,
Bauhaus,
Orchestral Manoeuvres in the Dark,
Sticky Fingaz feat. Raekwon,
Lungfish,
Jandek,
Todd Terry,
Gil Scott-Heron and Jamie xx,
the Association, the Association, the Association, the Association.
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.