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 Canada and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 mellotron sounds with much patience.
I was there when David Bowie 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 Barry Ungar to the electroclash kids.
I played it at the Astoria.
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 Television tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
A Flock of Seagulls,
Terror Squad Feat. Camron,
Idris Muhammad,
Thee Headcoats,
Gang Green,
Michelle Simonal,
Ice-T,
Ralphi Rosario,
Warsaw,
The Sisters of Mercy,
The Names,
The Velvet Underground,
The Fall,
Glenn Branca,
The Angels of Light,
Orchestral Manoeuvres in the Dark,
Gil Scott-Heron and Jamie xx,
Be Bop Deluxe,
The Dead C,
Crispy Ambulance,
The Men They Couldn't Hang,
Chris & Cosey,
Harmonia,
Sister Nancy,
Visionaries,LMNO, T- Love & Iriscience,
Andrew Ashong & Theo Parrish,
Nation of Ulysses,
The J.B.'s,
Peter Gordon & Love of Life Orchestra,
This Heat,
Sarah Menescal,
Bush Tetras,
Vaughan Mason & Crew,
Gil Scott Heron,
Matthew Halsall,
Wighnomy Brothers & Robag Wruhme,
Dorothy Ashby,
Patti Smith,
Kayak,
Joensuu 1685,
Joy Division,
Ronnie Foster,
Marc Almond,
Liaisons Dangereuses,
Wally Richardson,
Al Stewart,
Barry Ungar,
Von Mondo,
Sparks,
Gian Franco Pienzio,
Derrick Morgan,
Angry Samoans,
The Motions,
The Busters,
Brass Construction,
Ultravox,
Barclay James Harvest,
The Smiths,
The Five Americans,
Public Image Ltd.,
Man Parrish,
The Toasters, The Toasters, The Toasters, The Toasters.
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.