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 Hungary and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
I'm losing my edge to the art-school Winnipeg 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Brick to the rock 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 Ice-T. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Sexual Harrassment 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 '80s.
I hear you're buying a clarinet and a spring reverb 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Dead Boys,
Aaron Thompson,
Rhythim Is Rhythim,
Reagan Youth,
Bobby Sherman,
David Bowie,
Hasil Adkins,
Alison Limerick,
The Moleskins,
Camouflage,
Joe Smooth,
Joey Negro,
Bang On A Can,
Glambeats Corp.,
The Royal Family And The Poor,
Anthony Braxton,
The Techniques,
John Foxx,
Pharoah Sanders,
Scrapy,
Lee Hazlewood,
The Barracudas,
Spandau Ballet,
Yusef Lateef,
Tim Buckley,
Index,
Ralphi Rosario,
The Cowsills,
The Victims,
Blake Baxter,
Lou Reed & John Cale,
The Busters,
Animal Collective,
Ohio Players,
Lalo Schifrin,
Young Marble Giants,
Gichy Dan,
Tommy Roe,
The Count Five,
Mandrill,
Black Sheep,
Barclay James Harvest,
John Coltrane,
La Düsseldorf,
Marcia Griffiths,
E-Dancer,
The Vogues,
KRS-One,
Liliput,
AZ,
The Sonics,
Blancmange,
Deadbeat,
Yaz,
The Invisible,
The Trojans,
Scott Walker,
Newcleus,
Unrelated Segments,
These Immortal Souls,
Minutemen,
Sun Ra,
Lebanon Hanover,
ABBA, ABBA, ABBA, ABBA.
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.