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 Nicaragua and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Johannesburg and Philadelphia.
I'm losing my edge to the art-school Toronto 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Fad Gadget to the dance 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 Jacob Miller. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal disco 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Alton Ellis,
June Days,
The Flesh Eaters,
Blake Baxter,
Alison Limerick,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash,
Ultimate Spinach,
Gian Franco Pienzio,
Richard Hell and the Voidoids,
Lalo Schifrin,
Amazonics,
Peter Gordon & Love of Life Orchestra,
Crispian St. Peters,
X-102,
Country Teasers,
Jacques Brel,
Girls At Our Best!,
Lightning Bolt,
The Music Machine,
Max Romeo,
Masters at Work,
R.M.O.,
Section 25,
Lower 48,
Marmalade,
Dual Sessions,
Electric Light Orchestra,
Q and Not U,
Ronan,
Oppenheimer Analysis,
Lou Reed,
Hasil Adkins,
Silicon Teens,
Josef K,
Pet Shop Boys,
Harpers Bizarre,
Icehouse,
The Invisible,
Lindisfarne,
Ituana,
Roxette,
Vaughan Mason & Crew,
Jerry's Kids,
Country Joe & The Fish,
the Bar-Kays,
Rapeman,
Davy DMX,
Bobby Byrd,
The Kinks,
Lebanon Hanover,
Piero Umiliani,
Kaleidoscope,
Gang Green,
Can,
The Last Poets,
Tropical Tobacco,
Agent Orange,
Jesper Dahlback,
KRS-One,
Man Parrish,
Trumans Water,
Warsaw, Warsaw, Warsaw, Warsaw.
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.