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 Antigua and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Mumbai.
I'm losing my edge to the art-school Columbus 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 David Bowie 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 Model 500 to the techno kids.
I played it at the Crocodile.
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 Avey Tare & Kría Brekkan. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The United States of America,
Metal Thangz,
DeepChord presents Echospace,
Rapeman,
Marmalade,
Rakim,
Khruangbin,
The Young Rascals,
Mr. Review,
New Age Steppers,
The Slackers,
Popol Vuh,
Tears for Fears,
Wighnomy Brothers & Robag Wruhme,
Janne Schatter,
The Index,
Das Ding,
The Gun Club,
Glambeats Corp.,
Ohio Players,
Todd Terry,
Lebanon Hanover,
Mars,
Adolescents,
Blossom Toes,
Juan Atkins,
The American Breed,
Saccharine Trust,
Cameo,
Judy Mowatt,
Alton Ellis,
Mo-Dettes,
KRS-One,
Buzzcocks,
Spandau Ballet,
The Mighty Diamonds,
Roger Hodgson,
Max Romeo,
The Associates,
Prince Buster,
Archie Shepp,
Sarah Menescal,
Matthew Bourne,
The Vogues,
The Durutti Column,
Joe Finger,
Piero Umiliani,
London Community Gospel Choir,
the Fania All-Stars,
Pet Shop Boys,
Dawn Penn,
Pylon,
Sugar Minott,
Faust,
Johnny Osbourne,
The Fugs,
Gerry Rafferty,
Sister Nancy,
Davy DMX,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.