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 Seychelles and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Philadelphia 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 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 Public Enemy to the jazz kids.
I played it at the Spitz.
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 Scion. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Idris Muhammad,
Glambeats Corp.,
The Music Machine,
Flash Fearless,
Eden Ahbez,
Nation of Ulysses,
Cymande,
Pete Rock & C.L. Smooth,
Donald Byrd,
The Skatalites,
Johnny Clarke,
The Cowsills,
Larry & the Blue Notes,
Cluster,
Tomorrow,
Goldenarms,
The Barracudas,
Royal Trux,
Al Stewart,
Ultra Naté,
The Cure,
Ronnie Foster,
Y Pants,
The Index,
Kauko Röyhkä ja Narttu,
X-101,
Bluetip,
The Fuzztones,
David Axelrod,
This Heat,
Fluxion,
Anthony Braxton,
Liaisons Dangereuses,
Soft Machine,
Terry Callier,
Pere Ubu,
Warsaw,
Wolf Eyes,
Heavy D & The Boyz,
Tommy Roe,
The Raincoats,
Juan Atkins,
Harmonia,
Lyres,
Darondo,
Janne Schatter,
Hasil Adkins,
Bobbi Humphrey,
Lee Hazlewood,
Funkadelic,
Barclay James Harvest,
Duran Duran,
Rapeman,
Grandmaster Flash and the Furious Five,
Piero Umiliani,
Louis and Bebe Barron,
Radiopuhelimet,
Siglo XX,
Visionaries,LMNO, T- Love & Iriscience,
Funky Four + One,
48th St. Collective,
Excepter, Excepter, Excepter, Excepter.
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.