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 Afghanistan and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Tokyo and Accra.
I'm losing my edge to the art-school Cairo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum 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 The Alarm Clocks to the dance 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 Terrestrial Tones. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Quadrant 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 '80s.
I hear you're buying a linndrum and a snare 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 organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Sun Ra,
Sound Behaviour,
Monolake,
Tommy Roe,
New Age Steppers,
Duran Duran,
DJ Style,
OOIOO,
Bang On A Can,
a-ha,
The Offenders,
Electric Light Orchestra,
Flipper,
In Retrospect,
Peter Gordon & Love of Life Orchestra,
The Motions,
Wally Richardson,
Howard Jones,
Siouxsie and the Banshees,
The Moleskins,
ABC,
AZ,
Cymande,
Donny Hathaway,
Sandy B,
Teenage Jesus and the Jerks,
Fad Gadget,
Peter & Gordon,
Boredoms,
Subhumans,
Country Teasers,
Avey Tare & Kría Brekkan,
K-Klass,
Theoretical Girls,
Stetsasonic,
Ossler,
Sparks,
Motorama,
Bang on a Can All-Stars,
Glenn Branca,
Sunsets and Hearts,
Super Lover Cee & Casanova Rud,
Mad Mike,
The Trojans,
Manfred Mann's Earth Band,
Gang Green,
Drive Like Jehu,
Ludus,
Gil Scott-Heron and Jamie xx,
Brand Nubian,
David Axelrod,
Gang of Four,
the Fania All-Stars,
Infiniti,
The Martian,
Tom Boy,
Bobby Womack,
Harry Pussy,
Bobby Byrd,
Amazonics,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.