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 Guinea and from Portland.
But I was there.
I was there in .
I was there at the first Suicide 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 1971.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Funky Four + One to the jazz kids.
I played it at the Astoria.
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 Joy Division. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Hasil Adkins 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 '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Black Sheep,
the Slits,
The Shadows of Knight,
Y Pants,
Donny Hathaway,
Al Stewart,
Blossom Toes,
48th St. Collective,
the Bar-Kays,
Tears for Fears,
DJ Style,
Amon Düül,
Danielle Patucci,
Rekid,
EPMD,
Max Romeo,
Pulsallama,
The Smiths,
Joe Smooth,
Sly & The Family Stone,
Davy DMX,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Gang Starr,
Michelle Simonal,
Josef K,
Agent Orange,
David Axelrod,
U.S. Maple,
the Fania All-Stars,
Ohio Players,
Skarface,
Lalo Schifrin,
Minor Threat,
The Gladiators,
Main Source,
Bronski Beat,
Todd Terry,
Parry Music,
Ralphi Rosario,
Loose Ends,
Average White Band,
Deakin,
Pagans,
Justin Hinds & The Dominoes,
Wally Richardson,
the Swans,
The Zeros,
Erasure,
Suburban Knight,
Andrew Hill,
Silicon Teens,
Hasil Adkins,
Agitation Free,
Audionom,
Rotary Connection,
Lyres,
Minny Pops,
Pussy Galore,
Eric B and Rakim,
Franke,
The Electric Prunes,
Warsaw, Warsaw, Warsaw, Warsaw.
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.