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 Antigua and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Beijing 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 theremin 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 Masters at Work to the electroclash 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 Peter & Gordon. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal punk 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 theremin and an organ 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 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Dawn Penn,
Drive Like Jehu,
Gastr Del Sol,
Frankie Knuckles,
Panda Bear,
Funkadelic,
Selector Dub Narcotic,
H. Thieme,
Royal Trux,
Flash Fearless,
kango's stein massive,
Masters at Work,
China Crisis,
John Lydon,
48th St. Collective,
Camouflage,
Faust,
Blancmange,
The Fuzztones,
Hardrive,
Judy Mowatt,
James Chance & The Contortions,
Lindisfarne,
The Searchers,
Marmalade,
The Gladiators,
A Flock of Seagulls,
Angry Samoans,
Donald Byrd,
Kerri Chandler,
Carl Craig,
Roy Ayers,
Ultimate Spinach,
Richard Hell and the Voidoids,
Bluetip,
Reuben Wilson,
The Cramps,
Mandrill,
Rekid,
Toni Rubio,
X-101,
Quantec,
the Normal,
The American Breed,
Hoover,
John Holt,
Agent Orange,
Gang of Four,
AZ,
The Velvet Underground,
David Axelrod,
Mars,
Half Japanese,
Neil Young,
Eric Copeland,
Amon Düül,
Audionom,
Lou Reed & John Cale,
Avey Tare & Kría Brekkan,
Black Flag,
Peter Gordon & Love of Life Orchestra,
Jeff Lynne,
D'Angelo,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.