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 East Timor and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school New York 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 spring reverb 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 The Gories to the funk 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 David Axelrod. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Slick Rick 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Y Pants,
Cybotron,
Procol Harum,
Alison Limerick,
New Age Steppers,
Cabaret Voltaire,
The Red Krayola,
Louis and Bebe Barron,
Ossler,
Terrestrial Tones,
Warren Ellis,
a-ha,
Joe Smooth,
X-Ray Spex,
The Gap Band,
The Sisters of Mercy,
Crash Course in Science,
The Selecter,
Gian Franco Pienzio,
Rakim,
Sällskapet,
Porter Ricks,
The Peanut Butter Conspiracy,
Röyhkä ja Rättö ja Lehtisalo,
Mr. Review,
The Smoke,
Saccharine Trust,
Massinfluence,
Kerrie Biddell,
Isaac Hayes,
Iggy Pop,
Nils Olav,
Bang On A Can,
Amon Düül,
The Men They Couldn't Hang,
Thompson Twins,
Livin' Joy,
John Holt,
This Heat,
The Grass Roots,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Darondo,
The Detroit Cobras,
Sly & The Family Stone,
Man Eating Sloth,
Don Cherry,
In Retrospect,
Roxy Music,
Kaleidoscope,
Grey Daturas,
Red Lorry Yellow Lorry,
The United States of America,
Kauko Röyhkä ja Narttu,
Major Organ And The Adding Machine,
Ash Ra Tempel,
Dennis Brown,
Gerry Rafferty,
Symarip,
Cecil Taylor,
Todd Terry,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.