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 Macedonia and from Houston.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bologna and Lagos.
I'm losing my edge to the art-school Glasgow 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 Michael McDonald 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 Delon & Dalcan to the punk 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 X-101. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
Strawberry Alarm Clock,
Pere Ubu,
Negative Approach,
The Fuzztones,
Derrick May,
Boredoms,
Nas,
Porter Ricks,
Can,
Dark Day,
In Retrospect,
The Slackers,
Rapeman,
Marcia Griffiths,
The Mummies,
Althea and Donna,
Mo-Dettes,
La Düsseldorf,
Monks,
Kool Moe Dee,
The Offenders,
Wings,
Big Daddy Kane,
Cal Tjader,
Delon & Dalcan,
Art Ensemble Of Chicago,
Simply Red,
Bad Manners,
The Techniques,
The Men They Couldn't Hang,
Bootsy's Rubber Band,
Sonic Youth,
Zero Boys,
Moby Grape,
The Remains,
Nation of Ulysses,
Boogie Down Productions,
The Star Department,
Wolf Eyes,
Jawbox,
Cameo,
The Moody Blues,
Kerri Chandler,
Andrew Ashong & Theo Parrish,
Gregory Isaacs,
Sam Rivers,
Jeru the Damaja,
Moss Icon,
The Monochrome Set,
T.S.O.L.,
Glambeats Corp.,
Technova,
X-Ray Spex,
Eurythmics,
Isaac Hayes,
Aaron Thompson,
Depeche Mode,
the Bar-Kays,
Cheater Slicks,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.