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 Croatia and from Manila.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Shanghai 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 Neu! practice in a loft in Düsseldorf.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Sandy B to the dance 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 Angels of Light. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a 808 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Stockholm Monsters,
The West Coast Pop Art Experimental Band,
Black Pus,
Marc Almond,
Alton Ellis,
Fatback Band,
Pere Ubu,
Spandau Ballet,
Oppenheimer Analysis,
Audionom,
T.S.O.L.,
Roy Ayers,
Tres Demented,
Dorothy Ashby,
Wolf Eyes,
Gian Franco Pienzio,
Cameo,
The Gories,
Minnie Riperton,
John Holt,
Letta Mbulu,
Fort Wilson Riot,
The Cramps,
Tommy Roe,
The Modern Lovers,
The Durutti Column,
Zero Boys,
Kerrie Biddell,
Leonard Cohen,
Neil Young,
the Germs,
kango's stein massive,
The New Christs,
Duran Duran,
Lou Reed & Metallica,
Joensuu 1685,
Morten Harket,
The Last Poets,
Mary Jane Girls,
Fad Gadget,
Gil Scott Heron,
Smog,
Boogie Down Productions,
Rhythim Is Rhythim,
Ornette Coleman,
Black Sheep,
Sly & The Family Stone,
The Sound,
The Blues Magoos,
Sexual Harrassment,
Amon Düül,
The Human League,
Young Marble Giants,
Swans,
Little Man,
Peter Gordon & Love of Life Orchestra,
the Bar-Kays,
Can,
Oneida,
Shuggie Otis,
Groovy Waters,
Ossler,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.