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 Sri Lanka and from Milan.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Electric Prunes to the punk 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 Lou Christie. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Michelle Simonal 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
The Angels of Light,
Youth Brigade,
Make Up,
Fifty Foot Hose,
Marc Romboy vs. Booka Shade,
The Martian,
The Star Department,
H. Thieme,
The Fortunes,
Public Image Ltd.,
Jacob Miller,
Drive Like Jehu,
Oblivians,
Buzzcocks,
Deepchord,
Vladislav Delay,
Easy Going,
Todd Rundgren,
Desert Stars,
Ornette Coleman,
Mandrill,
Rotary Connection,
Echospace,
Derrick May,
The Trojans,
Crash Course in Science,
Pussy Galore,
Moebius,
Bronski Beat,
Bauhaus,
Gang of Four,
London Community Gospel Choir,
Urselle,
The Alarm Clocks,
Bush Tetras,
Loose Ends,
Avey Tare & Kría Brekkan,
Brass Construction,
Monks,
Sunsets and Hearts,
Teenage Jesus and the Jerks,
Junior Murvin,
Johnny Clarke,
Pet Shop Boys,
Neu!,
Mo-Dettes,
Blake Baxter,
Ralphi Rosario,
Gil Scott-Heron and Jamie xx,
Nico,
Motorama,
New Order,
June of 44,
Chrome,
Kool Moe Dee,
Charles Mingus,
Tommy Roe,
Hashim,
Carl Craig,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.