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 the UAE and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Calgary 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 Thinking Fellers Union Local 282 to the rock kids.
I played it at CBGB's.
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 Angry Samoans. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Ultimate Spinach,
The Vogues,
T.S.O.L.,
Yaz,
Stiv Bators,
Tim Buckley,
Monks,
Kayak,
Gil Scott-Heron & Brian Jackson,
Don Cherry,
Marine Girls,
Quantec,
Kings Of Tomorrow,
Spandau Ballet,
Rotary Connection,
Half Japanese,
Lower 48,
The Victims,
Dark Day,
Red Lorry Yellow Lorry,
Livin' Joy,
Aural Exciters,
This Heat,
Black Sheep,
Piero Umiliani,
Gong,
Minnie Riperton,
Kerri Chandler,
Röyhkä ja Rättö ja Lehtisalo,
Nils Olav,
Reuben Wilson,
Lalo Schifrin,
E-Dancer,
Bang On A Can,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Whodini,
The Mojo Men,
Tres Demented,
Bill Near,
Minutemen,
Bobbi Humphrey,
Lou Christie,
Moebius,
The Detroit Cobras,
Pierre Henry,
The United States of America,
Dr. Dre and Snoop Doggy Dog,
Eden Ahbez,
Judy Mowatt,
Aaron Thompson,
Sun City Girls,
Minor Threat,
Basic Channel,
Todd Terry,
The Shadows of Knight,
Heavy D & The Boyz,
Schoolly D,
Tropical Tobacco,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.