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 Vanuatu and from Copenhagen.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Delhi 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Faraquet to the techno kids.
I played it at the Troubador.
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 Amon Düül. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill 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?
Fat Boys,
Kool Moe Dee,
F. McDonald,
The Modern Lovers,
Marc Almond,
Funkadelic,
Moebius,
Arthur Verocai,
The Smoke,
Rakim,
Pylon,
Delon & Dalcan,
Robert Hood,
Public Enemy,
The Chocolate Watch Band,
Gong,
Delta 5,
Q65,
Dead Boys,
Crash Course in Science,
Erasure,
The Velvet Underground,
Orchestral Manoeuvres in the Dark,
Arcadia,
Newcleus,
The Doobie Brothers,
Qualms,
Technova,
ABC,
Slick Rick,
Davy DMX,
Byron Stingily,
The Raincoats,
U.S. Maple,
The Detroit Cobras,
The Wake,
John Coltrane,
Skarface,
Peter Gordon & Love of Life Orchestra,
Traffic Nightmare,
The Blackbyrds,
Spandau Ballet,
China Crisis,
Moby Grape,
Procol Harum,
Kango’s Stein Massive,
Arab on Radar,
Banda Bassotti,
Motorama,
The Count Five,
Nick Cave & The Bad Seeds,
Lower 48,
The Doors,
Camberwell Now,
The Birthday Party,
Matthew Bourne,
Lungfish,
Scientists,
Barclay James Harvest,
Be Bop Deluxe,
Mantronix,
Trumans Water,
The Sisters of Mercy,
Chrome, Chrome, Chrome, Chrome.
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.