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 Congo and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 David Axelrod to the punk 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 Electric Prunes. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Stetsasonic 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
The Mighty Diamonds,
Bang on a Can All-Stars,
The Motions,
kango's stein massive,
Soul Sonic Force,
Qualms,
Crime,
The Count Five,
The Durutti Column,
Lee Hazlewood,
Davy DMX,
Deadbeat,
Outsiders,
Angry Samoans,
The New Christs,
La Düsseldorf,
DNA,
Faraquet,
The Index,
Hoover,
World's Most,
Rufus Thomas,
Ultramagnetic MC's,
Slick Rick,
Oppenheimer Analysis,
Alison Limerick,
Arcadia,
Tomorrow,
Barry Ungar,
Fatback Band,
Sun Ra Arkestra,
Eli Mardock,
The Human League,
Jerry's Kids,
Vaughan Mason & Crew,
Dark Day,
The J.B.'s,
The Doobie Brothers,
Alice Coltrane,
Television Personalities,
the Fania All-Stars,
Rhythim Is Rhythim,
Brothers Johnson,
John Coltrane,
Dual Sessions,
The Leaves,
Isaac Hayes,
Scratch Acid,
Radiopuhelimet,
X-101,
Brass Construction,
The Pretty Things,
The Blackbyrds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oblivians,
Pharaoh Sanders and the Fire Engines,
Marmalade,
Wasted Youth,
Iggy Pop,
Dorothy Ashby,
Toni Rubio,
Selector Dub Narcotic,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.