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 Brunei and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Stockholm 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 güiro 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 Louis and Bebe Barron to the techno kids.
I played it at Trash.
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 H. Thieme. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Soul II Soul,
Dennis Brown,
Easy Going,
Black Flag,
Byron Stingily,
Bang on a Can All-Stars,
Average White Band,
Reagan Youth,
Oblivians,
Sugar Minott,
Scratch Acid,
Heaven 17,
Q and Not U,
Mr. Review,
Howard Jones,
Sound Behaviour,
Blake Baxter,
Second Layer,
Sandy B,
The Martian,
Black Sheep,
Make Up,
Todd Rundgren,
John Cale,
Swell Maps,
Marshall Jefferson,
Gil Scott-Heron & Brian Jackson,
Pere Ubu,
Bobby Hutcherson,
Dark Day,
The Count Five,
Ludus,
Alton Ellis,
Rhythim Is Rhythim,
Minor Threat,
Godley & Creme,
Bobbi Humphrey,
Ultra Naté,
Electric Light Orchestra,
Robert Hood,
MDC,
Pagans,
Jeru the Damaja,
Stereo Dub,
Inner City,
The Saints,
Funky Four + One,
Half Japanese,
Bob Dylan,
Spoonie Gee,
Q65,
Nation of Ulysses,
Roxette,
Rapeman,
The Music Machine,
Ultravox,
Quadrant,
Anakelly,
Man Eating Sloth,
Sällskapet,
Harry Pussy,
The Cosmic Jokers,
Tommy Roe,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.