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 San Marino and from Lille.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 Joe Smooth to the rap 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Eddi Front,
Darondo,
The Music Machine,
Neil Young,
Shuggie Otis,
Derrick Morgan,
Talk Talk,
Slave,
Iggy Pop,
PIL,
the Soft Cell,
Tommy Roe,
The Cosmic Jokers,
Hashim,
Major Organ And The Adding Machine,
Toni Rubio,
Lee Hazlewood,
Bobby Byrd,
Godley & Creme,
Glambeats Corp.,
Rekid,
Fela Kuti,
Captain Beefheart & His Magic Band,
Deepchord,
Cabaret Voltaire,
Mo-Dettes,
The Cramps,
Bob Dylan,
The Men They Couldn't Hang,
Bizarre Inc.,
Patti Smith,
Charles Mingus,
Lucky Dragons,
Wings,
Traffic Nightmare,
Bang on a Can All-Stars,
Sly & The Family Stone,
Brothers Johnson,
Supertramp,
The Dave Clark Five,
Jerry's Kids,
Bobby Sherman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Second Layer,
The Modern Lovers,
Sister Nancy,
Kauko Röyhkä ja Narttu,
Boz Scaggs,
Sad Lovers and Giants,
Liliput,
Boogie Down Productions,
Mad Mike,
Minny Pops,
Lungfish,
Fat Boys,
Barrington Levy,
ABC,
Jeru the Damaja,
The United States of America,
T. Rex, T. Rex, T. Rex, T. Rex.
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.