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 South Africa and from Milan.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 Lou Reed 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 Flipper to the jazz kids.
I played it at the 40 Watt.
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 Red Lorry Yellow Lorry. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Eden Ahbez,
Heaven 17,
James White and The Blacks,
Blake Baxter,
Hoover,
Black Flag,
Dark Day,
Isaac Hayes,
Piero Umiliani,
The Pop Group,
Dorothy Ashby,
Japan,
Bob Dylan,
Johnny Osbourne,
Quadrant,
The Music Machine,
Bauhaus,
Swell Maps,
Stiv Bators,
Avey Tare & Kría Brekkan,
Funkadelic,
Absolute Body Control,
Manfred Mann's Earth Band,
Erykah Badu,
Sam Rivers,
Alice Coltrane,
Aaron Thompson,
The Last Poets,
Röyhkä ja Rättö ja Lehtisalo,
Arthur Verocai,
A Flock of Seagulls,
Chrome,
Marc Almond,
Robert Görl,
Terror Squad Feat. Camron,
Marcia Griffiths,
Lou Reed & Metallica,
Dead Boys,
Curtis Mayfield,
Mantronix,
UT,
Bootsy Collins,
Faraquet,
Bill Wells,
Joe Smooth,
Livin' Joy,
MDC,
Malaria!,
Anakelly,
Rhythm & Sound,
The Cowsills,
Kings Of Tomorrow,
The West Coast Pop Art Experimental Band,
Amon Düül,
Mr. Review,
The Litter,
Roxy Music,
Pantytec,
Tropical Tobacco,
Sight & Sound,
R.M.O.,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.