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 Germany and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 Robert Palmer 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 L. Decosne to the jazz 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 Davy DMX. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Sonny Sharrock 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
the Fania All-Stars,
Slick Rick,
Cymande,
Charles Mingus,
James Chance & The Contortions,
Jesper Dahlback,
Donald Byrd,
Glambeats Corp.,
Stockholm Monsters,
Oblivians,
The Last Poets,
Bill Near,
Kango’s Stein Massive,
Roy Ayers Ubiquity,
Pet Shop Boys,
Soft Machine,
Franke,
Shoche,
Gastr Del Sol,
Crispy Ambulance,
cv313,
The Happenings,
Ultramagnetic MC's,
Lebanon Hanover,
PIL,
Scion,
Derrick Morgan,
the Bar-Kays,
The Blackbyrds,
D'Angelo,
Grandmaster Flash,
The Fuzztones,
Clear Light,
Deutsch Amerikanische Freundschaft,
Zero Boys,
KRS-One,
Hot Snakes,
Sister Nancy,
Heavy D & The Boyz,
B.T. Express,
Crispian St. Peters,
Surgeon,
The Cramps,
Bootsy Collins,
Minutemen,
Shuggie Otis,
Black Flag,
Red Lorry Yellow Lorry,
Infiniti,
Orchestral Manoeuvres in the Dark,
Henry Cow,
Guru Guru,
Nils Olav,
MDC,
A Flock of Seagulls,
Bob Dylan,
Nico,
Skaos,
Fat Boys,
Ultra Naté,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.