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 Congo and from Lyon.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Delhi 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 rhodes 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 Lalo Schifrin to the grime 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 CMW. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Neu!,
Junior Murvin,
Ralphi Rosario,
Rod Modell,
Warsaw,
Donald Byrd,
Cabaret Voltaire,
Ituana,
Buzzcocks,
Quantec,
the Bar-Kays,
Bizarre Inc.,
Pierre Henry,
Niagra,
The Offenders,
Amon Düül,
The Wake,
Scott Walker + Sunn O))),
Toni Rubio,
The Smoke,
Electric Light Orchestra,
Q65,
a-ha,
Sandy B,
Joey Negro,
Justin Hinds & The Dominoes,
The Walker Brothers,
David Axelrod,
Jacob Miller,
ABBA,
Terry Callier,
Hashim,
Michelle Simonal,
Alphaville,
LL Cool J,
Groovy Waters,
The Cowsills,
Rites of Spring,
Scrapy,
Fela Kuti,
Pulsallama,
Stereo Dub,
Underground Resistance,
Janne Schatter,
Oppenheimer Analysis,
Skarface,
Pagans,
Maurizio,
Young Marble Giants,
The Slits,
Barclay James Harvest,
Sugar Minott,
Joy Division,
June of 44,
Fat Boys,
John Coltrane,
Moebius,
Livin' Joy,
Technova,
Bobby Womack,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.