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 Sierra Leone and from Spokane.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Patti Smith to the electroclash 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 LL Cool J. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Silicon Teens,
Michelle Simonal,
The Last Poets,
Moebius,
T.S.O.L.,
Nils Olav,
The Grass Roots,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Mission of Burma,
Section 25,
The Fuzztones,
The Stooges,
Roy Ayers,
H. Thieme,
Soul II Soul,
John Coltrane,
The Moleskins,
Black Bananas,
The Gladiators,
Monolake,
Lizzy Mercier Descloux,
New Age Steppers,
Mo-Dettes,
ABBA,
Bang on a Can All-Stars,
June of 44,
Alison Limerick,
Magazine,
Max Romeo,
Harpers Bizarre,
Letta Mbulu,
Q65,
James White and The Blacks,
The Pretty Things,
Spoonie Gee,
Donald Byrd,
Urselle,
Basic Channel,
Laurel Aitken,
Oblivians,
Art Ensemble Of Chicago,
Radiopuhelimet,
Eric Copeland,
Barry Ungar,
The Gap Band,
Robert Görl,
Dark Day,
the Slits,
Los Fastidios,
Flamin' Groovies,
Jeff Lynne,
Boredoms,
Yazoo,
Sällskapet,
John Foxx,
Janne Schatter,
The Velvet Underground,
Johnny Clarke,
Rhythm & Sound,
a-ha,
the Sonics, the Sonics, the Sonics, the Sonics.
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.