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 Dominican Republic and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Paris and Woodstock.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Reuben Wilson to the rap kids.
I played it at CBGB's.
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 Oneida. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Ash Ra Tempel,
Crispy Ambulance,
Grandmaster Flash,
Gabor Szabo,
Lou Reed & Metallica,
David McCallum,
Grey Daturas,
CMW,
Groovy Waters,
The Smoke,
Kevin Saunderson,
Lucky Dragons,
Captain Beefheart & His Magic Band,
Rhythm & Sound,
Sällskapet,
Half Japanese,
Siouxsie and the Banshees,
Minor Threat,
Aloha Tigers,
Thompson Twins,
Procol Harum,
Soft Machine,
Curtis Mayfield,
Whodini,
Stereo Dub,
Lou Reed & John Cale,
Graham Central Station,
Flash Fearless,
Cymande,
Michelle Simonal,
Neil Young,
Judy Mowatt,
Tim Buckley,
The Saints,
The Fuzztones,
Pierre Henry,
kango's stein massive,
The American Breed,
X-102,
Bill Near,
The Blues Magoos,
Spandau Ballet,
Junior Murvin,
Super Lover Cee & Casanova Rud,
Guru Guru,
Minutemen,
The Birthday Party,
Lightning Bolt,
John Foxx,
Sun Ra Arkestra,
Reuben Wilson,
Bobby Sherman,
Youth Brigade,
Rowland S Howard / Lydia Lunch,
Pet Shop Boys,
Henry Cow,
Todd Terry,
Talk Talk,
the Normal,
The Sisters of Mercy,
Brothers Johnson,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.