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 Eritrea and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Tehran 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Sällskapet to the grime 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 Pylon. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro 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 marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Godley & Creme,
Neil Young & Crazy Horse,
Siglo XX,
Model 500,
Supertramp,
Nick Fraelich,
D'Angelo,
Reuben Wilson,
Bootsy Collins,
Nas,
Colin Newman,
The Moleskins,
The Black Dice,
Ronnie Foster,
The Star Department,
Grey Daturas,
Flipper,
The Monks,
The West Coast Pop Art Experimental Band,
Reagan Youth,
Gregory Isaacs,
Simply Red,
Joey Negro,
Das Ding,
Spandau Ballet,
Interpol,
Joy Division,
Deutsch Amerikanische Freundschaft,
Quantec,
Sonic Youth,
Vaughan Mason & Crew,
48th St. Collective,
The Stooges,
The Toasters,
DNA,
Donald Byrd,
CMW,
Rotary Connection,
Tears for Fears,
The Moody Blues,
a-ha,
Rosa Yemen,
The Young Rascals,
The Real Kids,
DeepChord presents Echospace,
Intrusion,
Steve Hackett,
Ludus,
Wolf Eyes,
Teenage Jesus and the Jerks,
Albert Ayler,
The Selecter,
UT,
The Evens,
R.M.O.,
Erasure,
Gichy Dan,
Isaac Hayes,
La Düsseldorf,
Dark Day,
Robert Görl,
Marc Almond,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.