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 Madrid.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Taipei and Tehran.
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 linndrum 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 Graham Central Station to the dance kids.
I played it at CBGB's.
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 Velvet Underground. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
The Gap Band,
Scientists,
Kas Product,
Yazoo,
A Flock of Seagulls,
Josef K,
Sly & The Family Stone,
The Selecter,
Y Pants,
Motorama,
MC5,
Moby Grape,
Howard Jones,
Boredoms,
Nas,
Sparks,
Second Layer,
Can,
Ultra Naté,
Ponytail,
Heaven 17,
Ohio Players,
Intrusion,
Thinking Fellers Union Local 282,
Jacques Brel,
L. Decosne,
Grandmaster Flash,
Pantytec,
The Mighty Diamonds,
The Mojo Men,
Essential Logic,
Brand Nubian,
Super Lover Cee & Casanova Rud,
Gil Scott-Heron & Brian Jackson,
John Foxx,
World's Most,
Andrew Hill,
Bill Wells,
Oneida,
Gerry Rafferty,
Throbbing Gristle,
Eurythmics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Remains,
Suburban Knight,
Mad Mike,
Subhumans,
Godley & Creme,
Moss Icon,
AZ,
Cheater Slicks,
Major Organ And The Adding Machine,
The Men They Couldn't Hang,
The Human League,
Nick Fraelich,
Crime,
The Smiths,
Don Cherry,
Cal Tjader,
K-Klass,
Roxy Music,
Juan Atkins,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.