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 Malawi and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school New York 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 oboe 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 It's A Beautiful Day to the funk 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 Kurtis Blow. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Sister Nancy 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Cluster,
Bobby Sherman,
Country Joe & The Fish,
Parry Music,
Janne Schatter,
Jandek,
Liliput,
Underground Resistance,
DNA,
Icehouse,
Whodini,
Louis and Bebe Barron,
Amazonics,
Procol Harum,
Kool G Rap & DJ Polo,
The Invisible,
Lonnie Liston Smith,
Isaac Hayes,
Ralphi Rosario,
Captain Beefheart & His Magic Band,
Silicon Teens,
John Lydon,
Drive Like Jehu,
Moebius,
Fatback Band,
The Skatalites,
Eden Ahbez,
Jimmy McGriff,
Tommy Roe,
Reuben Wilson,
Al Stewart,
Josef K,
Derrick May,
Subhumans,
Justin Hinds & The Dominoes,
Bill Wells,
Lizzy Mercier Descloux,
Radio Birdman,
The Mojo Men,
Tears for Fears,
Pulsallama,
Eric B and Rakim,
Kenny Larkin,
Graham Central Station,
Don Cherry,
Neil Young & Crazy Horse,
Warren Ellis,
Electric Prunes,
Swans,
Cheater Slicks,
Unrelated Segments,
Joyce Sims,
The Vogues,
X-Ray Spex,
Harmonia,
Audionom,
Radiohead,
The Star Department,
H. Thieme,
the Germs,
Notorious BIG live in Amsterdam,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.