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 Burkina and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Manila.
I'm losing my edge to the art-school Woodstock 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 guitar sounds with much patience.
I was there when David Bowie 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 The Gun Club to the funk kids.
I played it at the Troubador.
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 DNA. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Heaven 17,
Boogie Down Productions,
Throbbing Gristle,
Altered Images,
Roxette,
Fluxion,
Don Cherry,
Shoche,
Neil Young,
Tommy Roe,
Soft Machine,
Crime,
Yaz,
The Motions,
Yusef Lateef,
La Düsseldorf,
Excepter,
Spandau Ballet,
Moss Icon,
Jeff Lynne,
Orchestral Manoeuvres in the Dark,
E-Dancer,
The Doors,
B.T. Express,
Theoretical Girls,
Crooked Eye,
Brand Nubian,
Essential Logic,
Siglo XX,
Ultravox,
Jacques Brel,
Flash Fearless,
The Offenders,
Crash Course in Science,
the Soft Cell,
The Trojans,
OOIOO,
Rhythim Is Rhythim,
Slick Rick,
Cybotron,
The Stooges,
Ten City,
UT,
Rod Modell,
Rosa Yemen,
Glambeats Corp.,
Moby Grape,
Deadbeat,
The Doobie Brothers,
Aswad,
The Standells,
Barbara Tucker,
The Birthday Party,
Country Joe & The Fish,
Pole,
Tropical Tobacco,
cv313,
Bill Wells,
The Fortunes,
Juan Atkins,
Ice-T,
Faust,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.