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 Bangladesh and from Delhi.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the funk kids.
I played it at the Roxy.
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 ABBA. All the underground hits.
All Scion tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish 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?
June of 44,
The Doors,
H. Thieme,
Quantec,
Terry Callier,
Brand Nubian,
Harpers Bizarre,
Vladislav Delay,
Marcia Griffiths,
Alton Ellis,
Howard Jones,
Kings Of Tomorrow,
Thinking Fellers Union Local 282,
Fad Gadget,
Bill Near,
Pharoah Sanders,
Cymande,
AZ,
Mr. Review,
New York Dolls,
Subhumans,
Minutemen,
Todd Terry,
The Seeds,
John Cale,
Little Man,
The Blues Magoos,
Icehouse,
Jandek,
The Alarm Clocks,
LL Cool J,
This Heat,
Lou Reed & John Cale,
Kas Product,
Glambeats Corp.,
Jesper Dahlback,
a-ha,
Mars,
Ponytail,
Swell Maps,
Neil Young,
Animal Collective,
DJ Style,
Sam Rivers,
Delta 5,
Warren Ellis,
Kayak,
DNA,
Neu!,
Motorama,
Camouflage,
Terror Squad Feat. Camron,
The Victims,
The Detroit Cobras,
Rosa Yemen,
Half Japanese,
Mary Jane Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Easy Going,
Altered Images,
Justin Hinds & The Dominoes,
Junior Murvin,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.