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 Colombia and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Andrew Hill to the techno 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 Kerrie Biddell. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a mellotron 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 oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Smog,
Bill Wells,
The Martian,
Das Ding,
Theoretical Girls,
Joe Finger,
Wasted Youth,
Little Man,
Al Stewart,
Louis and Bebe Barron,
Reagan Youth,
Tubeway Army,
Barclay James Harvest,
The Black Dice,
Be Bop Deluxe,
Rosa Yemen,
Deepchord,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Joensuu 1685,
Ken Boothe,
Minnie Riperton,
Section 25,
The Trojans,
The Gladiators,
L. Decosne,
10cc,
Boredoms,
Rhythm & Sound,
Charles Mingus,
Interpol,
The Doors,
Make Up,
London Community Gospel Choir,
Graham Central Station,
Oppenheimer Analysis,
Rotary Connection,
Scott Walker + Sunn O))),
Tomorrow,
Audionom,
the Slits,
Roger Hodgson,
Radiopuhelimet,
Eurythmics,
Cabaret Voltaire,
Lightning Bolt,
JFA,
Rekid,
Godley & Creme,
Sonny Sharrock,
Zapp,
Ituana,
FM Einheit,
Erasure,
Echospace,
Arthur Verocai,
Desert Stars,
E-Dancer,
Panda Bear,
Glenn Branca,
The Invisible, The Invisible, The Invisible, The Invisible.
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.