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 Philippines and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Glasgow 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 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 Drive Like Jehu to the rap kids.
I played it at CBGB's.
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 Agitation Free. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
The Happenings,
Eric Dolphy,
Sun City Girls,
Jerry Gold Smith,
Radio Birdman,
Panda Bear,
The Move,
Half Japanese,
The New Christs,
The Vogues,
Moby Grape,
Leonard Cohen,
Gang of Four,
the Fania All-Stars,
Max Romeo,
Country Teasers,
Bronski Beat,
Lee Hazlewood,
Tubeway Army,
Public Image Ltd.,
Clear Light,
Pet Shop Boys,
The Fugs,
Mantronix,
Bob Dylan,
Bobby Hutcherson,
Sarah Menescal,
ABBA,
Slave,
Theoretical Girls,
Average White Band,
Sun Ra,
Chris & Cosey,
Young Marble Giants,
Livin' Joy,
Kenny Larkin,
Can,
Roy Ayers Ubiquity,
Main Source,
Stereo Dub,
The Moleskins,
Brass Construction,
Blossom Toes,
Spandau Ballet,
The Barracudas,
Davy DMX,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
Suicide,
Man Eating Sloth,
Robert Görl,
Electric Light Orchestra,
The Durutti Column,
Letta Mbulu,
Lakeside,
The Index,
Wally Richardson,
The Misunderstood,
Funky Four + One,
Brick,
Lyres, Lyres, Lyres, Lyres.
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.