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 Ethiopia and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 The Grass Roots to the jazz kids.
I played it at the 40 Watt.
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 Tres Demented. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Index 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Mr. Review,
Liaisons Dangereuses,
Judy Mowatt,
Severed Heads,
Buzzcocks,
Scrapy,
Strawberry Alarm Clock,
Camouflage,
Bill Wells,
Niagra,
Jandek,
Hasil Adkins,
Organ,
The Doobie Brothers,
Eddi Front,
Grey Daturas,
Monks,
Yellowson,
Art Ensemble Of Chicago,
Negative Approach,
New York Dolls,
Magazine,
Zero Boys,
David Bowie,
Gang Gang Dance,
Echo & the Bunnymen,
Davy DMX,
Leonard Cohen,
Reagan Youth,
The Remains,
Young Marble Giants,
Röyhkä ja Rättö ja Lehtisalo,
Skarface,
Oppenheimer Analysis,
La Düsseldorf,
Mark Hollis,
Scott Walker,
The Selecter,
Bootsy Collins,
Gichy Dan,
The Monochrome Set,
The Five Americans,
Black Pus,
Rahsaan Roland Kirk,
The Mummies,
Kerri Chandler,
Sun City Girls,
A Certain Ratio,
H. Thieme,
Thompson Twins,
Bobby Womack,
The Fortunes,
Newcleus,
Rapeman,
Pantaleimon,
The Searchers,
Rotary Connection,
Deakin,
Ash Ra Tempel,
Metal Thangz,
Das Ding,
Ajijia Myrayebe,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.