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 Germany and from Stockholm.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Houston 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Q and Not U to the rap kids.
I played it at the Hacienda.
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 Beasts of Bourbon. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Porter Ricks 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Shuggie Otis,
Blossom Toes,
Young Marble Giants,
Donald Byrd,
Traffic Nightmare,
UT,
Quantec,
The Detroit Cobras,
Funky Four + One,
Grandmaster Flash,
Deutsch Amerikanische Freundschaft,
Icehouse,
Ash Ra Tempel,
Aural Exciters,
The Five Americans,
Avey Tare,
Amon Düül,
KRS-One,
Moby Grape,
Agent Orange,
The American Breed,
Chris & Cosey,
Camouflage,
Rosa Yemen,
Al Stewart,
U.S. Maple,
The Raincoats,
The Birthday Party,
The Fuzztones,
DNA,
Groovy Waters,
Lalo Schifrin,
Roy Ayers Ubiquity,
Ronnie Foster,
Quadrant,
The Cramps,
Gang Gang Dance,
Jerry Gold Smith,
Bush Tetras,
Tears for Fears,
Isaac Hayes,
Intrusion,
Wighnomy Brothers & Robag Wruhme,
Nico,
The Gap Band,
The Kinks,
Mr. Review,
Louis and Bebe Barron,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
H. Thieme,
The Names,
The Electric Prunes,
Toni Rubio,
Bronski Beat,
Soul II Soul,
Von Mondo,
Mary Jane Girls,
Captain Beefheart & His Magic Band,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.