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 Serbia and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 New York and Jakarta.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 Bauhaus to the jazz kids.
I played it at the 40 Watt.
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 Animal Collective. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Black Pus 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 guitar and a rhodes 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Gang Green,
Pantaleimon,
Pulsallama,
Fat Boys,
Visionaries,LMNO, T- Love & Iriscience,
Royal Trux,
Monks,
Fort Wilson Riot,
Excepter,
Connie Case,
The Beau Brummels,
Television,
Derrick Morgan,
Negative Approach,
This Heat,
Kenny Larkin,
OOIOO,
James Chance & The Contortions,
Arab on Radar,
The Fugs,
Andrew Ashong & Theo Parrish,
the Normal,
Sex Pistols,
Adolescents,
The Red Krayola,
Brass Construction,
Mad Mike,
Archie Shepp,
Black Sheep,
Bizarre Inc.,
Wasted Youth,
kango's stein massive,
Lebanon Hanover,
The Music Machine,
Kerri Chandler,
Ludus,
Quando Quango,
Kango’s Stein Massive,
Colin Newman,
Stockholm Monsters,
Dennis Brown,
Zapp,
Index,
The Dead C,
Magma,
Delon & Dalcan,
Nico,
Lungfish,
Silicon Teens,
Ituana,
Peter and Kerry,
The Pop Group,
Rahsaan Roland Kirk,
Flash Fearless,
Jeff Lynne,
Ultramagnetic MC's,
Laurel Aitken,
Patti Smith,
Eric Dolphy,
Monolake,
Sun Ra,
Cabaret Voltaire,
Vainqueur,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.