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 Albania and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Hong Kong 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 organ 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 Judy Mowatt 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Liliput,
Gichy Dan,
Lakeside,
Bootsy Collins,
Anthony Braxton,
Richard Hell and the Voidoids,
Moss Icon,
Avey Tare,
The Residents,
The Cowsills,
Flipper,
A Flock of Seagulls,
Amon Düül,
New Age Steppers,
Tomorrow,
Bang On A Can,
The Count Five,
Cecil Taylor,
Fugazi,
Thee Headcoats,
Gang Gang Dance,
Slick Rick,
Röyhkä ja Rättö ja Lehtisalo,
Soft Machine,
Schoolly D,
Lebanon Hanover,
kango's stein massive,
Cameo,
Glenn Branca,
Slave,
Lightning Bolt,
Scott Walker,
Arcadia,
Angels of Light & Akron/Family,
Ralphi Rosario,
Kango’s Stein Massive,
Hardrive,
Negative Approach,
Rosa Yemen,
Sad Lovers and Giants,
Jeff Mills,
Eli Mardock,
Art Ensemble Of Chicago,
Dead Boys,
Youth Brigade,
Kool G Rap & DJ Polo,
The Men They Couldn't Hang,
Index,
The Cramps,
Eric B and Rakim,
FM Einheit,
Icehouse,
Cymande,
Procol Harum,
Drexciya,
Juan Atkins,
Black Bananas,
Grandmaster Flash and the Furious Five,
Urselle,
David McCallum,
Y Pants, Y Pants, Y Pants, Y Pants.
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.