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 Portugal and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1970.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Toronto 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 oboe 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 Notorious Big And Bone Thugs to the crunk 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 John Lydon. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Camouflage 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
De La Soul & Jungle Brothers,
Jawbox,
Wasted Youth,
Youth Brigade,
Sonny Sharrock,
The New Christs,
Talk Talk,
The Wake,
The Fire Engines,
Desert Stars,
Cameo,
Sällskapet,
Jerry's Kids,
Tears for Fears,
The Star Department,
The Dirtbombs,
The Gun Club,
Spandau Ballet,
Faraquet,
Roger Hodgson,
Audionom,
K-Klass,
Mark Hollis,
The Blackbyrds,
The Saints,
Monolake,
Camberwell Now,
Popol Vuh,
Massinfluence,
Radiohead,
Ossler,
The Mojo Men,
The Mighty Diamonds,
Chris Corsano,
June of 44,
The Residents,
The Real Kids,
Sun Ra,
Grandmaster Flash and the Furious Five,
Unrelated Segments,
Pagans,
Excepter,
Junior Murvin,
Kaleidoscope,
Television,
The Golliwogs,
Ronan,
Pantytec,
Fluxion,
The United States of America,
Agitation Free,
Kauko Röyhkä ja Narttu,
Deakin,
Bobby Womack,
Gabor Szabo,
The Trojans,
John Holt,
Bad Manners,
Oneida,
Gian Franco Pienzio,
Liliput,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.