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 Cameroon and from Philadelphia.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and Beijing.
I'm losing my edge to the art-school Tokyo 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 snare 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 Wings 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 Lalo Schifrin. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Echospace,
Sight & Sound,
Sunsets and Hearts,
Mad Mike,
Boogie Down Productions,
Flipper,
Bobby Sherman,
Eric Dolphy,
the Human League,
Man Parrish,
The United States of America,
Radiopuhelimet,
Dorothy Ashby,
Drexciya,
Juan Atkins,
48th St. Collective,
Mandrill,
The Real Kids,
Gerry Rafferty,
Arcadia,
The Jesus and Mary Chain,
Michelle Simonal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantaleimon,
Magma,
Bootsy Collins,
The Divine Comedy,
X-102,
The Star Department,
Black Bananas,
Unwound,
Icehouse,
Curtis Mayfield,
The New Christs,
Arab on Radar,
Motorama,
Funkadelic,
The Mojo Men,
Lebanon Hanover,
Jandek,
Grandmaster Flash and the Furious Five,
Hoover,
Hashim,
Ralphi Rosario,
F. McDonald,
Lou Reed & John Cale,
Ohio Players,
Donny Hathaway,
It's A Beautiful Day,
The Monks,
UT,
Colin Newman,
Kerrie Biddell,
Skriet,
Theoretical Girls,
Cybotron,
Todd Rundgren,
Banda Bassotti,
Albert Ayler,
Nico,
Camouflage, Camouflage, Camouflage, Camouflage.
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.