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 Vietnam and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Funkadelic to the grunge kids.
I played it at the 40 Watt.
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 The Smiths. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every the Bar-Kays 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Sam Rivers,
The Shadows of Knight,
Country Teasers,
June Days,
Sex Pistols,
The Fall,
Underground Resistance,
Smog,
the Soft Cell,
The Gap Band,
X-102,
Tres Demented,
Mo-Dettes,
Camberwell Now,
Notorious Big And Bone Thugs,
The Sisters of Mercy,
Barry Ungar,
The Divine Comedy,
Electric Prunes,
Eli Mardock,
The Grass Roots,
Subhumans,
Bauhaus,
The Mighty Diamonds,
Grauzone,
Rites of Spring,
Black Moon,
Lower 48,
Guru Guru,
Lizzy Mercier Descloux,
Dorothy Ashby,
Blancmange,
Echo & the Bunnymen,
Fifty Foot Hose,
Q and Not U,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
The Young Rascals,
Grandmaster Flash and the Furious Five,
The Skatalites,
Kerrie Biddell,
Henry Cow,
Thee Headcoats,
Crooked Eye,
Lou Reed & Metallica,
The Blues Magoos,
Fluxion,
Organ,
Bang on a Can All-Stars,
Silicon Teens,
Slick Rick,
Lou Christie,
Archie Shepp,
Man Parrish,
Leonard Cohen,
Surgeon,
Goldenarms,
John Coltrane,
Malaria!,
the Sonics,
Ponytail,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.