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 Costa Rica and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 Bologna and Houston.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes 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 Masters at Work to the jazz kids.
I played it at Cafe Wha.
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 Ultra Naté. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare 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 rhodes and bought an organ.
I hear that you and your band have sold your organ and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Roy Ayers,
Glambeats Corp.,
Circle Jerks,
Index,
Subhumans,
Sällskapet,
Visage,
Ohio Players,
Rhythm & Sound,
Bauhaus,
Rowland S Howard / Lydia Lunch,
Quadrant,
Donny Hathaway,
48th St. Collective,
Los Fastidios,
Sun Ra Arkestra,
Liliput,
Siglo XX,
The Vogues,
Frankie Knuckles,
Inner City,
These Immortal Souls,
Althea and Donna,
T. Rex,
Supertramp,
The Modern Lovers,
UT,
OOIOO,
Ossler,
Visionaries,LMNO, T- Love & Iriscience,
The Golliwogs,
Ronnie Foster,
Metal Thangz,
Jawbox,
Jeru the Damaja,
Boogie Down Productions,
The Invisible,
Johnny Clarke,
Gil Scott Heron,
Soul II Soul,
Radio Birdman,
Robert Wyatt,
Make Up,
Royal Trux,
Mo-Dettes,
Rotary Connection,
Saccharine Trust,
Icehouse,
the Swans,
Minny Pops,
The Knickerbockers,
The Moleskins,
Hashim,
Yaz,
Black Moon,
The Royal Family And The Poor,
Crispian St. Peters,
The Jesus and Mary Chain,
The Count Five,
Scan 7,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.