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 Zambia and from Toronto.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Spandau Ballet to the dance kids.
I played it at Cafe Wha.
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 Adolescents. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Whodini,
The Blues Magoos,
The Smoke,
Traffic Nightmare,
Isaac Hayes,
Maurizio,
Ken Boothe,
Lyres,
Avey Tare & Kría Brekkan,
Rhythim Is Rhythim,
Barry Ungar,
The Count Five,
Gerry Rafferty,
The Human League,
Dual Sessions,
The Real Kids,
The Residents,
The Knickerbockers,
Niagra,
Pagans,
Mandrill,
Sad Lovers and Giants,
It's A Beautiful Day,
Flash Fearless,
Television,
Sixth Finger,
Accadde A,
Tommy Roe,
Ornette Coleman,
Ponytail,
8 Eyed Spy,
Kurtis Blow,
The Young Rascals,
Beasts of Bourbon,
Bad Manners,
Nik Kershaw,
Ronan,
Echo & the Bunnymen,
The Alarm Clocks,
Main Source,
The Buckinghams,
Quadrant,
New Age Steppers,
Blake Baxter,
Ice-T,
Massinfluence,
Mission of Burma,
Kauko Röyhkä ja Narttu,
Flamin' Groovies,
Unwound,
Girls At Our Best!,
Swell Maps,
The Moleskins,
Sarah Menescal,
Bang On A Can,
Suicide,
The Busters,
Rufus Thomas,
Joensuu 1685,
Supertramp,
Leonard Cohen,
Smog, Smog, Smog, Smog.
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.