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 Jamaica and from Beijing.
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 1972.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Supertramp to the funk kids.
I played it at the Astoria.
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 Louis and Bebe Barron. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Jacob Miller,
Oneida,
La Düsseldorf,
The Real Kids,
X-101,
Kaleidoscope,
Scan 7,
Minor Threat,
John Cale,
Sly & The Family Stone,
Harmonia,
Ornette Coleman,
The Cure,
Angry Samoans,
Bill Near,
Boz Scaggs,
The J.B.'s,
The Index,
Altered Images,
Bronski Beat,
Eden Ahbez,
Robert Görl,
the Normal,
The Names,
Man Parrish,
Eric B and Rakim,
Motorama,
Flipper,
Spandau Ballet,
Traffic Nightmare,
Boredoms,
The Buckinghams,
X-102,
The American Breed,
Soulsonic Force,
Minnie Riperton,
Soul II Soul,
Pierre Henry,
De La Soul & Jungle Brothers,
Freddie Wadling,
Curtis Mayfield,
Fat Boys,
Cal Tjader,
Blossom Toes,
Quantec,
Monolake,
Steve Hackett,
Oppenheimer Analysis,
Manfred Mann's Earth Band,
Gil Scott-Heron and Jamie xx,
Maleditus Sound,
Albert Ayler,
Art Ensemble Of Chicago,
R.M.O.,
Smog,
Pharaoh Sanders and the Fire Engines,
Bobby Hutcherson,
Minutemen,
The United States of America,
Inner City,
Skriet, Skriet, Skriet, Skriet.
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.