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 Ukraine and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 X-101 to the rap kids.
I played it at Trash.
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 Black Bananas. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grime 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 a spring reverb and a güiro 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 a synthesizer.
I hear that you and your band have sold your synthesizer 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?
New Age Steppers,
Massinfluence,
The Kinks,
Big Daddy Kane,
Joe Smooth,
The Seeds,
Joyce Sims,
Spoonie Gee,
Cybotron,
Cameo,
Nation of Ulysses,
Eyeless In Gaza,
the Association,
the Soft Cell,
Minnie Riperton,
Lindisfarne,
Trumans Water,
It's A Beautiful Day,
48th St. Collective,
Andrew Ashong & Theo Parrish,
Qualms,
Camberwell Now,
Thompson Twins,
Oneida,
ABC,
Bluetip,
The Beau Brummels,
Pantytec,
K-Klass,
The Cure,
PIL,
The Angels of Light,
Rakim,
Curtis Mayfield,
Ultramagnetic MC's,
Slave,
The Blackbyrds,
Joey Negro,
Groovy Waters,
Josef K,
June of 44,
Soulsonic Force,
Supertramp,
E-Dancer,
Funkadelic,
Moby Grape,
The Slits,
Faust,
Electric Prunes,
Eurythmics,
Gang Green,
Unwound,
Infiniti,
The Walker Brothers,
Lafayette Afro Rock Band,
Pulsallama,
Fad Gadget,
R.M.O.,
Pussy Galore,
A Flock of Seagulls,
Theoretical Girls,
The Shadows of Knight,
Beasts of Bourbon,
The Selecter,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.