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 Switzerland and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lille and Edmonton.
I'm losing my edge to the art-school Glasgow 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 harpsichord 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 Mandrill 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 Louis and Bebe Barron. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal rock 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
the Association,
Sight & Sound,
Deepchord,
Rites of Spring,
Fugazi,
Susan Cadogan,
Bluetip,
Albert Ayler,
Fort Wilson Riot,
Glambeats Corp.,
Zapp,
Isaac Hayes,
Pet Shop Boys,
Terry Callier,
The Fire Engines,
New Age Steppers,
China Crisis,
Sun City Girls,
Wire,
Robert Görl,
the Slits,
Thinking Fellers Union Local 282,
Jandek,
Slick Rick,
Kaleidoscope,
Mo-Dettes,
Drive Like Jehu,
Louis and Bebe Barron,
Scientists,
Kenny Larkin,
Simply Red,
The Real Kids,
The Offenders,
The Smiths,
Joe Smooth,
The Toasters,
Suburban Knight,
Eric B and Rakim,
Soulsonic Force,
Average White Band,
Nick Fraelich,
EPMD,
Ronnie Foster,
Pere Ubu,
June Days,
Matthew Bourne,
Deutsch Amerikanische Freundschaft,
Duran Duran,
Kings Of Tomorrow,
Sam Rivers,
The Moleskins,
The United States of America,
The Last Poets,
Livin' Joy,
Colin Newman,
Mars,
Pharaoh Sanders and the Fire Engines,
Young Marble Giants,
Patti Smith,
10cc,
The Fuzztones,
The Motions, The Motions, The Motions, The Motions.
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.