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 Bangladesh and from Lyon.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Notorious BIG live in Amsterdam to the jazz kids.
I played it at the Crocodile.
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 Motions. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Masters at Work,
Skriet,
Fat Boys,
Parry Music,
X-101,
Whodini,
Y Pants,
Eurythmics,
Soulsonic Force,
Aaron Thompson,
Godley & Creme,
Simply Red,
Marc Romboy vs. Booka Shade,
Lyres,
Flipper,
JFA,
Loose Ends,
Lakeside,
Sandy B,
Gang Gang Dance,
Yellowson,
Avey Tare & Kría Brekkan,
KRS-One,
Angry Samoans,
Altered Images,
The Detroit Cobras,
Avey Tare,
Reagan Youth,
Ultra Naté,
Justin Hinds & The Dominoes,
Rhythim Is Rhythim,
The Pop Group,
New York Dolls,
X-Ray Spex,
The Sound,
Andrew Ashong & Theo Parrish,
Audionom,
Ludus,
Oneida,
The Shadows of Knight,
Gong,
Deepchord,
Hardrive,
Vainqueur,
the Germs,
Yazoo,
Lou Christie,
Amon Düül II,
The Sisters of Mercy,
Black Moon,
Terry Callier,
The Fugs,
Juan Atkins,
Pharaoh Sanders and the Fire Engines,
Roxy Music,
E-Dancer,
Joy Division,
Sun Ra Arkestra,
The Cowsills,
The Techniques,
Gabor Szabo,
Zapp,
The Blues Magoos,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.