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 Austria and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Jakarta 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Dual Sessions to the jazz kids.
I played it at the Crocodile.
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 James White and The Blacks. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Delta 5 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 '90s.
I hear you're buying a clarinet and a synthesizer 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 synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Deutsch Amerikanische Freundschaft,
Wolf Eyes,
Deakin,
John Cale,
Barrington Levy,
Joyce Sims,
Clear Light,
The Real Kids,
Quadrant,
Pierre Henry,
Nas,
The Moody Blues,
A Flock of Seagulls,
Technova,
Qualms,
Jeru the Damaja,
Justin Hinds & The Dominoes,
Fugazi,
Dennis Brown,
Black Moon,
Blossom Toes,
The Slackers,
Dorothy Ashby,
The West Coast Pop Art Experimental Band,
The Kinks,
Davy DMX,
Massinfluence,
Kerrie Biddell,
10cc,
Fela Kuti,
Monolake,
Lee Hazlewood,
Skriet,
Nils Olav,
DeepChord presents Echospace,
Derrick Morgan,
Harpers Bizarre,
The Monks,
The Move,
Throbbing Gristle,
Wighnomy Brothers & Robag Wruhme,
Bobby Womack,
Bob Dylan,
Peter Gordon & Love of Life Orchestra,
Ludus,
Kauko Röyhkä ja Narttu,
H. Thieme,
Joy Division,
Colin Newman,
Essential Logic,
Crime,
Ajijia Myrayebe,
Marcia Griffiths,
Drive Like Jehu,
Saccharine Trust,
Marc Almond,
Ken Boothe,
Grey Daturas,
Radio Birdman,
Josef K,
Bobby Byrd,
Warsaw, Warsaw, Warsaw, Warsaw.
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.