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 Azerbaijan and from Spokane.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 DeepChord presents Echospace to the jazz kids.
I played it at the Astoria.
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 New York Dolls. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Man Parrish 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 '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
U.S. Maple,
The Gladiators,
Graham Central Station,
The Shadows of Knight,
Mission of Burma,
The Seeds,
The Fortunes,
Tears for Fears,
Unrelated Segments,
Sonic Youth,
The Searchers,
LL Cool J,
Peter and Kerry,
Radiohead,
a-ha,
Echospace,
Urselle,
Nick Fraelich,
John Coltrane,
One Last Wish,
Depeche Mode,
Index,
Simply Red,
Jawbox,
The Sonics,
The Associates,
Jandek,
Avey Tare's Slasher Flicks,
The Young Rascals,
Frankie Knuckles,
48th St. Collective,
Ralphi Rosario,
Donald Byrd,
Metal Thangz,
Mantronix,
Hot Snakes,
The Standells,
the Bar-Kays,
Marc Almond,
Alice Coltrane,
Neu!,
Crispy Ambulance,
Public Image Ltd.,
Donny Hathaway,
Ronnie Foster,
Main Source,
London Community Gospel Choir,
Sex Pistols,
It's A Beautiful Day,
Fat Boys,
Pharoah Sanders,
Rakim,
Young Marble Giants,
Arthur Verocai,
Dave Gahan,
Spandau Ballet,
Sister Nancy,
X-101,
June Days,
Stereo Dub,
Ituana,
The Invisible,
Cecil Taylor,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.