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 Tajikistan and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1971.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Beijing 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 güiro 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 Eve St. Jones to the disco 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 Alison Limerick. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Goldenarms 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Television Personalities,
UT,
The Monks,
Rod Modell,
Manfred Mann's Earth Band,
Ash Ra Tempel,
Lucky Dragons,
Scratch Acid,
cv313,
Basic Channel,
Kenny Larkin,
Patti Smith,
Oppenheimer Analysis,
Slave,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Sonics,
Pagans,
Avey Tare & Kría Brekkan,
Neu!,
Kango’s Stein Massive,
Grauzone,
The Smiths,
T.S.O.L.,
Johnny Osbourne,
Gichy Dan,
OOIOO,
Skaos,
Glambeats Corp.,
Wire,
Maleditus Sound,
John Holt,
Ice-T,
The Modern Lovers,
Pharaoh Sanders and the Fire Engines,
Dual Sessions,
Main Source,
Symarip,
Swans,
Tomorrow,
Rufus Thomas,
Lindisfarne,
Camouflage,
Sound Behaviour,
Gary Puckett & The Union Gap,
Gang Green,
Orchestral Manoeuvres in the Dark,
Dave Gahan,
Aloha Tigers,
The Searchers,
Joe Finger,
Flamin' Groovies,
The Mighty Diamonds,
Andrew Hill,
Electric Light Orchestra,
Erasure,
Moby Grape,
Groovy Waters,
Cheater Slicks,
Mad Mike,
The Pop Group,
The Move, The Move, The Move, The Move.
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.