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 Azerbaijan and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Ponytail to the grime 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 Lee Hazlewood. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every The Moody Blues 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Livin' Joy,
Crispian St. Peters,
X-101,
Motorama,
Gregory Isaacs,
Aswad,
Michelle Simonal,
Anthony Braxton,
Drexciya,
Barrington Levy,
FM Einheit,
The Knickerbockers,
Model 500,
Bootsy Collins,
Dead Boys,
The Motions,
Sad Lovers and Giants,
Delta 5,
Faraquet,
Big Daddy Kane,
The Last Poets,
Shoche,
The Blues Magoos,
Reuben Wilson,
Rakim,
Outsiders,
The Cosmic Jokers,
The Offenders,
The Monochrome Set,
Little Man,
Electric Prunes,
The Detroit Cobras,
The Standells,
Blancmange,
Kenny Larkin,
Derrick May,
The Dave Clark Five,
Girls At Our Best!,
Youth Brigade,
Jacques Brel,
Rufus Thomas,
Gabor Szabo,
Larry & the Blue Notes,
Fatback Band,
U.S. Maple,
Skaos,
Theoretical Girls,
Gong,
the Normal,
Stockholm Monsters,
Ohio Players,
Ultimate Spinach,
Black Bananas,
Amazonics,
Oppenheimer Analysis,
Jesper Dahlback,
Peter & Gordon,
Jeru the Damaja,
Justin Hinds & The Dominoes,
Visionaries,LMNO, T- Love & Iriscience,
Lower 48, Lower 48, Lower 48, Lower 48.
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.