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 Azerbaijan and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1979.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Sly & The Family Stone to the techno kids.
I played it at the Spitz.
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 Jacques Brel. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Symarip,
In Retrospect,
Hardrive,
Strawberry Alarm Clock,
Angels of Light & Akron/Family,
LL Cool J,
Masters at Work,
Prince Buster,
The Grass Roots,
Rosa Yemen,
Scrapy,
The Invisible,
Isaac Hayes,
The American Breed,
Donald Byrd,
New York Dolls,
Suburban Knight,
Sparks,
MC5,
Monolake,
Bobbi Humphrey,
Beasts of Bourbon,
Pagans,
Ponytail,
48th St. Collective,
Scratch Acid,
Sam Rivers,
X-Ray Spex,
June of 44,
Supertramp,
kango's stein massive,
Lou Reed & Metallica,
Bootsy Collins,
John Coltrane,
Gil Scott Heron,
Al Stewart,
Surgeon,
Andrew Ashong & Theo Parrish,
The Pop Group,
Flipper,
Agitation Free,
The Sound,
The Peanut Butter Conspiracy,
Sly & The Family Stone,
The Busters,
Lower 48,
The Blues Magoos,
Sun Ra Arkestra,
The Real Kids,
Echospace,
London Community Gospel Choir,
The Seeds,
Fear,
Derrick May,
Harpers Bizarre,
Audionom,
The Names,
Matthew Bourne,
Alphaville,
Black Flag,
The Selecter,
Black Bananas,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.