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 Netherlands and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Taipei 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 oboe 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 The Shadows of Knight to the punk kids.
I played it at the Spitz.
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 The Buckinghams. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
London Community Gospel Choir,
Reuben Wilson,
Can,
DJ Sneak,
Larry & the Blue Notes,
Porter Ricks,
Eli Mardock,
Alison Limerick,
Alice Coltrane,
Underground Resistance,
Marcia Griffiths,
The Chocolate Watch Band,
The Shadows of Knight,
Crime,
Con Funk Shun,
AZ,
Black Moon,
Oneida,
Idris Muhammad,
The Buckinghams,
Gary Puckett & The Union Gap,
The Beau Brummels,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Jandek,
Wolf Eyes,
Sam Rivers,
Section 25,
Sunsets and Hearts,
Qualms,
Louis and Bebe Barron,
Rotary Connection,
Nas,
World's Most,
Angels of Light & Akron/Family,
Stiv Bators,
Deutsch Amerikanische Freundschaft,
D'Angelo,
Eyeless In Gaza,
Oppenheimer Analysis,
The Young Rascals,
Technova,
Adolescents,
the Soft Cell,
Flipper,
Rekid,
Von Mondo,
Anthony Braxton,
Bizarre Inc.,
Brothers Johnson,
Lungfish,
Marine Girls,
Lucky Dragons,
Nation of Ulysses,
Frankie Knuckles,
The Pretty Things,
Roy Ayers Ubiquity,
Severed Heads,
Flamin' Groovies,
Symarip, Symarip, Symarip, Symarip.
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.