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 Brunei and from London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 David Axelrod to the grunge 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 Q65. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Andrew Ashong & Theo Parrish,
Tubeway Army,
Mr. Review,
Main Source,
Matthew Halsall,
The Grass Roots,
Mary Jane Girls,
Quando Quango,
Oneida,
A Certain Ratio,
Minutemen,
Soft Cell,
Aural Exciters,
The Stooges,
Juan Atkins,
Roger Hodgson,
Stetsasonic,
Fad Gadget,
L. Decosne,
Harpers Bizarre,
Grauzone,
The Selecter,
OOIOO,
Andrew Hill,
Skarface,
Grey Daturas,
Faraquet,
Franke,
The Last Poets,
Radio Birdman,
Pet Shop Boys,
Pylon,
Bill Near,
Liaisons Dangereuses,
It's A Beautiful Day,
Ash Ra Tempel,
China Crisis,
R.M.O.,
The Cramps,
U.S. Maple,
Bronski Beat,
Siouxsie and the Banshees,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
Cecil Taylor,
The Leaves,
T. Rex,
Crooked Eye,
Das Ding,
Avey Tare,
Accadde A,
Black Flag,
Nation of Ulysses,
Absolute Body Control,
Monolake,
Public Image Ltd.,
Minor Threat,
Eurythmics,
Ken Boothe,
Barry Ungar,
Sällskapet,
Rotary Connection,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.