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 Ecuador and from Houston.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Letta Mbulu 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 The Gories. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Model 500 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music 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?
Isaac Hayes,
Tropical Tobacco,
Pole,
Erykah Badu,
Matthew Bourne,
Crispian St. Peters,
The Motions,
U.S. Maple,
Lee Hazlewood,
Selector Dub Narcotic,
World's Most,
Black Sheep,
Aural Exciters,
The Tremeloes,
Sight & Sound,
Ultra Naté,
Soulsonic Force,
The Trojans,
Joe Finger,
Nils Olav,
Morten Harket,
Dark Day,
Jerry Gold Smith,
Anakelly,
Radio Birdman,
Grauzone,
Byron Stingily,
Scott Walker + Sunn O))),
Kauko Röyhkä ja Narttu,
Ice-T,
Sunsets and Hearts,
Pere Ubu,
The Beau Brummels,
The Monochrome Set,
John Foxx,
Kayak,
Nico,
FM Einheit,
the Fania All-Stars,
The Selecter,
John Coltrane,
Crispy Ambulance,
Kool Moe Dee,
Scott Walker,
MC5,
Groovy Waters,
Bobby Sherman,
Main Source,
The Saints,
Lindisfarne,
X-102,
Monks,
Harpers Bizarre,
Gichy Dan,
Rod Modell,
Lou Reed & Metallica,
Guru Guru,
Fad Gadget,
Spandau Ballet,
Kenny Larkin,
Donald Byrd,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.