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 United Kingdom and from Calgary.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Von Mondo to the funk kids.
I played it at Cafe Wha.
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 Masters at Work. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Hasil Adkins,
Mary Jane Girls,
Vainqueur,
Bootsy Collins,
Monks,
Motorama,
The Techniques,
The Sound,
Maleditus Sound,
Niagra,
Pulsallama,
Duran Duran,
Fluxion,
Cecil Taylor,
Lee Hazlewood,
Sly & The Family Stone,
Fort Wilson Riot,
The Grass Roots,
Howard Jones,
Make Up,
Thinking Fellers Union Local 282,
Suicide,
Ten City,
The Residents,
Urselle,
Crash Course in Science,
The Seeds,
Neil Young,
Ituana,
Charles Mingus,
Gil Scott-Heron and Jamie xx,
Roy Ayers,
The American Breed,
Groovy Waters,
Joyce Sims,
Selector Dub Narcotic,
Cluster,
Hoover,
A Certain Ratio,
Adolescents,
Barclay James Harvest,
Sparks,
Sällskapet,
Radiohead,
Desert Stars,
Mandrill,
Vaughan Mason & Crew,
Moss Icon,
Ken Boothe,
Stiv Bators,
Blake Baxter,
Mad Mike,
Ice-T,
Franke,
Siouxsie and the Banshees,
Ornette Coleman,
The Jesus and Mary Chain,
Electric Prunes,
Sam Rivers,
Pagans,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.