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 Zambia and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
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 spring reverb 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 Rakim to the crunk kids.
I played it at the Roxy.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Qualms,
Drive Like Jehu,
The Mighty Diamonds,
The Five Americans,
The Fire Engines,
Nirvana,
The Gladiators,
Agent Orange,
The Fall,
The Evens,
Amon Düül II,
The Pretty Things,
X-102,
Siglo XX,
cv313,
Lower 48,
Skaos,
Rapeman,
The Fuzztones,
Rekid,
Unrelated Segments,
Sam Rivers,
The Sisters of Mercy,
Shuggie Otis,
Robert Hood,
One Last Wish,
Jerry Gold Smith,
Lou Reed,
The Busters,
Eve St. Jones,
Jeru the Damaja,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
Mars,
Andrew Hill,
Wolf Eyes,
Frankie Knuckles,
Erykah Badu,
The Doobie Brothers,
Donny Hathaway,
Lonnie Liston Smith,
Accadde A,
Avey Tare's Slasher Flicks,
Von Mondo,
Animal Collective,
Pantytec,
Marmalade,
The Pop Group,
Grandmaster Flash and the Furious Five,
Alton Ellis,
The Alarm Clocks,
Icehouse,
T. Rex,
Depeche Mode,
The Divine Comedy,
Whodini,
Fear,
Black Sheep,
Nation of Ulysses,
Half Japanese,
Black Pus, Black Pus, Black Pus, Black Pus.
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.