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 Solomon Islands and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Cairo 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 marimba 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 Hoover to the punk 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 The Mummies. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave 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?
Television,
The Seeds,
Sarah Menescal,
Black Moon,
The Beau Brummels,
Shuggie Otis,
Supertramp,
John Foxx,
Gang Gang Dance,
The Remains,
The Knickerbockers,
Lindisfarne,
Los Fastidios,
The Doobie Brothers,
Vaughan Mason & Crew,
Main Source,
K-Klass,
Bobby Hutcherson,
The Index,
Crooked Eye,
The Martian,
Scion,
Don Cherry,
Lou Reed & John Cale,
Lucky Dragons,
Kerri Chandler,
Curtis Mayfield,
Jesper Dahlback,
Prince Buster,
T. Rex,
Ponytail,
Brand Nubian,
Jacob Miller,
The Blues Magoos,
Freddie Wadling,
Black Flag,
Art Ensemble Of Chicago,
Accadde A,
The Move,
Spandau Ballet,
Magazine,
The Pop Group,
Grauzone,
The Happenings,
Ituana,
Liaisons Dangereuses,
Icehouse,
The Birthday Party,
The Trojans,
Stockholm Monsters,
Shoche,
The Victims,
John Holt,
Faraquet,
The Motions,
La Düsseldorf,
Nick Fraelich,
Big Daddy Kane,
The Evens,
Steve Hackett,
Pylon, Pylon, Pylon, Pylon.
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.