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 New Zealand and from Sao Paulo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Cluster 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 Ossler. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
The Smiths,
Grandmaster Flash,
Amon Düül II,
Funkadelic,
Robert Wyatt,
Sun Ra,
Spandau Ballet,
Strawberry Alarm Clock,
Country Joe & The Fish,
Albert Ayler,
The Mojo Men,
The Walker Brothers,
China Crisis,
The West Coast Pop Art Experimental Band,
The Trojans,
Ralphi Rosario,
The Barracudas,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Dead C,
Dr. Dre and Snoop Doggy Dog,
The American Breed,
Sexual Harrassment,
Heavy D & The Boyz,
Crash Course in Science,
The Associates,
Khruangbin,
Big Daddy Kane,
Blossom Toes,
AZ,
Funky Four + One,
Andrew Hill,
Mary Jane Girls,
Toni Rubio,
Super Lover Cee & Casanova Rud,
Spoonie Gee,
Dark Day,
The Jesus and Mary Chain,
The Remains,
Bobby Sherman,
Silicon Teens,
Byron Stingily,
Shuggie Otis,
Chrome,
Ohio Players,
Man Parrish,
Sound Behaviour,
Tim Buckley,
Orchestral Manoeuvres in the Dark,
Monks,
Agitation Free,
The Fire Engines,
The Angels of Light,
Jimmy McGriff,
Porter Ricks,
The Tremeloes,
The Victims,
Bang on a Can All-Stars,
The United States of America,
Sam Rivers,
Josef K, Josef K, Josef K, Josef K.
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.