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 Honduras and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Manchester.
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 chamberlin sounds with much patience.
I was there when David Bowie 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 Dorothy Ashby to the electroclash 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 World's Most. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Janne Schatter 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Crispy Ambulance,
Urselle,
Tropical Tobacco,
the Association,
Siouxsie and the Banshees,
Fugazi,
Amon Düül II,
Mars,
Prince Buster,
The Residents,
Magazine,
D'Angelo,
Nas,
The Electric Prunes,
Crime,
Leonard Cohen,
Joy Division,
Mo-Dettes,
Mark Hollis,
Popol Vuh,
The Moleskins,
New York Dolls,
Sandy B,
Lucky Dragons,
Japan,
Pete Rock & C.L. Smooth,
Bronski Beat,
Ludus,
Groovy Waters,
Dark Day,
The Blues Magoos,
Sällskapet,
Fatback Band,
Blancmange,
Rapeman,
Bill Near,
Delon & Dalcan,
Eden Ahbez,
Bobby Sherman,
Aswad,
David Bowie,
Super Lover Cee & Casanova Rud,
Nation of Ulysses,
Black Pus,
Arab on Radar,
Deepchord,
Jeru the Damaja,
Gang Green,
Desert Stars,
Quantec,
Harmonia,
Ash Ra Tempel,
Terrestrial Tones,
Lou Reed & Metallica,
Schoolly D,
LL Cool J,
Nils Olav,
Bang On A Can,
Rhythm & Sound,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.