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 Serbia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Mumbai 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Masters at Work to the disco kids.
I played it at the Astoria.
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 The Trojans. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The Durutti Column 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Ultra Naté,
U.S. Maple,
Glambeats Corp.,
Jesper Dahlback,
De La Soul & Jungle Brothers,
Alison Limerick,
Sex Pistols,
Todd Rundgren,
One Last Wish,
Todd Terry,
The Smiths,
Dual Sessions,
Zero Boys,
David Bowie,
Royal Trux,
Shoche,
Chrome,
Liliput,
Bizarre Inc.,
Hasil Adkins,
The Royal Family And The Poor,
Circle Jerks,
Rhythim Is Rhythim,
Tropical Tobacco,
Black Pus,
Eve St. Jones,
Gian Franco Pienzio,
Eyeless In Gaza,
The Sound,
Girls At Our Best!,
Joyce Sims,
Roy Ayers Ubiquity,
Ultramagnetic MC's,
Aaron Thompson,
Andrew Ashong & Theo Parrish,
Yusef Lateef,
Neil Young & Crazy Horse,
Can,
Electric Light Orchestra,
Arab on Radar,
Radio Birdman,
The Barracudas,
Cluster,
Major Organ And The Adding Machine,
Bobby Womack,
Pere Ubu,
The Gladiators,
Television Personalities,
Warren Ellis,
The Techniques,
Fluxion,
Sam Rivers,
Hashim,
Quando Quango,
The Vogues,
Monks,
Traffic Nightmare,
Deutsch Amerikanische Freundschaft,
Michelle Simonal,
Q and Not U,
D'Angelo,
Man Parrish,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.