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 Qatar and from Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Tropical Tobacco to the disco 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 Qualms. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Public Image Ltd.,
Visage,
Lakeside,
Avey Tare,
Bang on a Can All-Stars,
Rahsaan Roland Kirk,
The Star Department,
Andrew Ashong & Theo Parrish,
Suburban Knight,
Andrew Hill,
Donald Byrd,
Dennis Brown,
The Doors,
This Heat,
Amon Düül,
Tom Boy,
Rites of Spring,
The Knickerbockers,
Slave,
Faust,
Kool Moe Dee,
Soft Cell,
Electric Light Orchestra,
Aural Exciters,
Technova,
Reuben Wilson,
The United States of America,
Glambeats Corp.,
Idris Muhammad,
F. McDonald,
The Cosmic Jokers,
Goldenarms,
Althea and Donna,
Terror Squad Feat. Camron,
The Angels of Light,
Minor Threat,
Richard Hell and the Voidoids,
Eden Ahbez,
Robert Görl,
Flamin' Groovies,
Suicide,
Major Organ And The Adding Machine,
The Leaves,
Eyeless In Gaza,
Tomorrow,
Josef K,
Kauko Röyhkä ja Narttu,
The Mummies,
The Moleskins,
Lower 48,
The Red Krayola,
Agent Orange,
Saccharine Trust,
Brand Nubian,
Sällskapet,
Selector Dub Narcotic,
Pierre Henry,
Soft Machine,
Marshall Jefferson,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.