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 Denmark and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Winnipeg 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 snare 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 Porter Ricks to the grunge kids.
I played it at the Spitz.
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 Zero Boys. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every The Grass Roots 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Jawbox,
Sparks,
Jerry's Kids,
Kango’s Stein Massive,
Charles Mingus,
Country Joe & The Fish,
The Raincoats,
Black Pus,
Jeff Mills,
Camouflage,
Funkadelic,
Masters at Work,
Yazoo,
Barclay James Harvest,
Shoche,
John Coltrane,
Roxy Music,
OOIOO,
The Pop Group,
Sister Nancy,
June Days,
Byron Stingily,
Don Cherry,
Guru Guru,
The Gap Band,
Traffic Nightmare,
Youth Brigade,
The Modern Lovers,
Pussy Galore,
Yellowson,
The Detroit Cobras,
Rod Modell,
Laurel Aitken,
Radiopuhelimet,
The Monochrome Set,
Faust,
DeepChord presents Echospace,
Minutemen,
Cameo,
The Victims,
The Fuzztones,
Mo-Dettes,
Justin Hinds & The Dominoes,
Black Sheep,
Make Up,
Pete Rock & C.L. Smooth,
The Electric Prunes,
Godley & Creme,
the Association,
KRS-One,
The Gun Club,
Thompson Twins,
Letta Mbulu,
Kayak,
Con Funk Shun,
Skaos,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.