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 Brazil and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Spokane 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 theremin 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 Crooked Eye to the rock kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Count Five 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Black Flag,
The West Coast Pop Art Experimental Band,
Lee Hazlewood,
FM Einheit,
Public Image Ltd.,
Tears for Fears,
Kerri Chandler,
Gang Gang Dance,
Fluxion,
Black Sheep,
The Index,
Gang Starr,
Lonnie Liston Smith,
Shoche,
Lucky Dragons,
Althea and Donna,
Funkadelic,
David Bowie,
Zapp,
Ohio Players,
Yaz,
Monks,
Marmalade,
Charles Mingus,
The Dave Clark Five,
MDC,
Suburban Knight,
Gabor Szabo,
Con Funk Shun,
Eli Mardock,
Suicide,
Maleditus Sound,
Laurel Aitken,
Blancmange,
Quadrant,
Nico,
Ronnie Foster,
Kool G Rap & DJ Polo,
U.S. Maple,
Lower 48,
10cc,
Nik Kershaw,
Whodini,
Delta 5,
Pere Ubu,
Crime,
Crispian St. Peters,
Tres Demented,
Johnny Osbourne,
The Sisters of Mercy,
One Last Wish,
Make Up,
Monolake,
Sister Nancy,
Lafayette Afro Rock Band,
Byron Stingily,
Chris Corsano,
The Doors,
Kenny Larkin,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.