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 Afghanistan and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Cairo 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Fela Kuti to the jazz kids.
I played it at the Roxy.
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 Detroit Cobras. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Shuggie Otis,
Althea and Donna,
Negative Approach,
Pylon,
John Holt,
Rekid,
Maurizio,
Charles Mingus,
Khruangbin,
Quantec,
Sound Behaviour,
Erasure,
The Royal Family And The Poor,
Crispian St. Peters,
Oneida,
Crash Course in Science,
Stereo Dub,
Black Moon,
Sly & The Family Stone,
Prince Buster,
Gary Puckett & The Union Gap,
Slave,
Neil Young & Crazy Horse,
Chrome,
Lizzy Mercier Descloux,
Young Marble Giants,
Duran Duran,
MDC,
Nas,
John Coltrane,
Japan,
Larry & the Blue Notes,
Tears for Fears,
Tommy Roe,
The Alarm Clocks,
Joe Finger,
EPMD,
Minny Pops,
Can,
Eric Dolphy,
Mission of Burma,
Darondo,
Mantronix,
Urselle,
Lower 48,
Peter and Kerry,
Red Lorry Yellow Lorry,
Archie Shepp,
Andrew Ashong & Theo Parrish,
Bauhaus,
Ash Ra Tempel,
Gichy Dan,
Dave Gahan,
The Star Department,
Moby Grape,
Lebanon Hanover,
Pharoah Sanders,
Jawbox,
Monolake,
Popol Vuh,
Radio Birdman,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.