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 Liberia and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1978.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Seoul 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Parry Music to the dance kids.
I played it at the Troubador.
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 Bobby Sherman. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every The Dead C 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Theoretical Girls,
Motorama,
Soulsonic Force,
Terrestrial Tones,
The Red Krayola,
Jeru the Damaja,
Pantaleimon,
The Happenings,
The Remains,
DJ Sneak,
Intrusion,
Warren Ellis,
Nick Fraelich,
La Düsseldorf,
Lucky Dragons,
48th St. Collective,
Gang Starr,
Notorious BIG live in Amsterdam,
Gang Green,
Radiohead,
The Monochrome Set,
Harry Pussy,
Circle Jerks,
Parry Music,
Jimmy McGriff,
Sight & Sound,
Rhythm & Sound,
Liaisons Dangereuses,
Robert Hood,
The West Coast Pop Art Experimental Band,
Fifty Foot Hose,
Wally Richardson,
Ronan,
David Bowie,
Roy Ayers Ubiquity,
The Busters,
Boogie Down Productions,
Sun City Girls,
Minor Threat,
Stockholm Monsters,
Neil Young & Crazy Horse,
Eli Mardock,
The Walker Brothers,
T. Rex,
The Searchers,
Fat Boys,
Fluxion,
Anthony Braxton,
Cymande,
In Retrospect,
The Slackers,
John Holt,
Chris Corsano,
The Move,
Sarah Menescal,
Popol Vuh,
Zapp,
Animal Collective,
B.T. Express,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.