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 Sierra Leone and from Tokyo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 Country Joe & The Fish to the rock kids.
I played it at the 40 Watt.
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 Gap Band. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Trumans Water 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 '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Lee Hazlewood,
Bobbi Humphrey,
Second Layer,
Crime,
Man Eating Sloth,
Hasil Adkins,
Underground Resistance,
Gil Scott-Heron & Brian Jackson,
Alison Limerick,
10cc,
Dennis Brown,
Nick Fraelich,
Bush Tetras,
Sixth Finger,
DJ Style,
T. Rex,
The Birthday Party,
Dr. Dre and Snoop Doggy Dog,
Fela Kuti,
Rowland S Howard / Lydia Lunch,
The Gap Band,
Siglo XX,
Connie Case,
Barbara Tucker,
Marvin Gaye,
The Golliwogs,
D'Angelo,
The Toasters,
CMW,
Sunsets and Hearts,
a-ha,
Crash Course in Science,
Suburban Knight,
Flash Fearless,
Mo-Dettes,
EPMD,
Joey Negro,
Jandek,
Warsaw,
Peter Gordon & Love of Life Orchestra,
The Black Dice,
Jesper Dahlback,
The United States of America,
The Alarm Clocks,
Sällskapet,
Motorama,
The West Coast Pop Art Experimental Band,
Thee Headcoats,
La Düsseldorf,
Y Pants,
Manfred Mann's Earth Band,
Scott Walker,
The Count Five,
Mr. Review,
Ultra Naté,
Fat Boys,
Bizarre Inc.,
New York Dolls,
Roy Ayers,
Excepter,
Scrapy,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.