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 Equatorial Guinea and from Mexico City.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Zero Boys to the rock 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 D'Angelo. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Oblivians,
The Doors,
The Wake,
The Associates,
Lakeside,
Masters at Work,
James Chance & The Contortions,
Flipper,
Lou Christie,
Barrington Levy,
Main Source,
Man Eating Sloth,
DNA,
DeepChord presents Echospace,
A Certain Ratio,
Wire,
Procol Harum,
Amon Düül II,
Terry Callier,
The Jesus and Mary Chain,
Essential Logic,
Liaisons Dangereuses,
Interpol,
the Fania All-Stars,
Jeff Lynne,
The Martian,
Sunsets and Hearts,
Surgeon,
Reuben Wilson,
Röyhkä ja Rättö ja Lehtisalo,
the Association,
Mandrill,
Stiv Bators,
Glenn Branca,
Kerri Chandler,
Al Stewart,
Gian Franco Pienzio,
Letta Mbulu,
The Searchers,
Drive Like Jehu,
Marc Almond,
Jawbox,
Make Up,
Lalo Schifrin,
Neil Young,
KRS-One,
Bob Dylan,
Bizarre Inc.,
Byron Stingily,
In Retrospect,
Frankie Knuckles,
Nick Fraelich,
Teenage Jesus and the Jerks,
JFA,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
China Crisis,
Alphaville,
Howard Jones,
Sun Ra,
The Evens,
Mantronix,
Jeff Mills,
Monolake, Monolake, Monolake, Monolake.
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.