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 Andorra and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 The Doobie Brothers to the grime kids.
I played it at Cafe Wha.
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 Tim Buckley. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
The Modern Lovers,
Ten City,
Wolf Eyes,
Gary Puckett & The Union Gap,
Magma,
The Dave Clark Five,
Jacob Miller,
The West Coast Pop Art Experimental Band,
The Alarm Clocks,
Peter and Kerry,
Harmonia,
The Names,
Barrington Levy,
JFA,
Eve St. Jones,
The Pretty Things,
Model 500,
Wally Richardson,
New Order,
The Sonics,
Das Ding,
UT,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deakin,
Erykah Badu,
DNA,
Nation of Ulysses,
Glenn Branca,
Sonny Sharrock,
Eyeless In Gaza,
Freddie Wadling,
Goldenarms,
Rod Modell,
Louis and Bebe Barron,
Metal Thangz,
Fela Kuti,
Steve Hackett,
Niagra,
The Standells,
Pulsallama,
Prince Buster,
The Red Krayola,
The Mummies,
Half Japanese,
the Fania All-Stars,
The Gories,
Bizarre Inc.,
Underground Resistance,
H. Thieme,
Y Pants,
Eric B and Rakim,
Bill Near,
Laurel Aitken,
Icehouse,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
ABBA,
Ken Boothe,
Slave,
Babytalk,
Mad Mike,
The Doors, The Doors, The Doors, The Doors.
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.