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 Vanuatu and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Calgary.
I'm losing my edge to the art-school Woodstock 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 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 Crash Course in Science to the crunk 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 Half Japanese. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Ultra Naté,
Crooked Eye,
Henry Cow,
Black Bananas,
Bootsy Collins,
The Move,
Josef K,
Janne Schatter,
Essential Logic,
Audionom,
London Community Gospel Choir,
K-Klass,
Motorama,
Strawberry Alarm Clock,
Minny Pops,
Joyce Sims,
Yellowson,
The Invisible,
Index,
Vainqueur,
Rapeman,
Kings Of Tomorrow,
The Mighty Diamonds,
Absolute Body Control,
The Residents,
Stiv Bators,
Lalann,
Arcadia,
Lou Reed & John Cale,
Boogie Down Productions,
Iggy Pop,
Lou Christie,
Radiopuhelimet,
Boz Scaggs,
Bobby Womack,
Jacob Miller,
Harpers Bizarre,
The Flesh Eaters,
D'Angelo,
Kayak,
Notorious BIG live in Amsterdam,
MC5,
Orchestral Manoeuvres in the Dark,
Simply Red,
The Trojans,
Dave Gahan,
Ponytail,
Ten City,
Marmalade,
Alice Coltrane,
Al Stewart,
The Doobie Brothers,
Darondo,
Gang Green,
Ronnie Foster,
10cc,
Jandek,
Altered Images,
The American Breed,
Suburban Knight,
The Seeds, The Seeds, The Seeds, The Seeds.
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.