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 Bulgaria and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Bobby Hutcherson to the rap 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 The Names. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes 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 oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Oneida,
the Soft Cell,
Pylon,
Dual Sessions,
Crispian St. Peters,
The Fugs,
Ultra Naté,
Half Japanese,
Robert Görl,
Rakim,
Tim Buckley,
Eden Ahbez,
Quando Quango,
Kas Product,
Country Joe & The Fish,
Cabaret Voltaire,
Traffic Nightmare,
UT,
Andrew Ashong & Theo Parrish,
Kerrie Biddell,
The Mighty Diamonds,
Radio Birdman,
Notorious Big And Bone Thugs,
The United States of America,
Kevin Saunderson,
Larry & the Blue Notes,
China Crisis,
The Chocolate Watch Band,
The Neon Judgement,
The Cramps,
The Tremeloes,
Thompson Twins,
Cymande,
Lightning Bolt,
Deakin,
Section 25,
Deadbeat,
Television Personalities,
Brass Construction,
Drexciya,
Man Eating Sloth,
Sex Pistols,
Flamin' Groovies,
The Gladiators,
Peter & Gordon,
Sonny Sharrock,
Bob Dylan,
The Litter,
Eric Dolphy,
FM Einheit,
Lebanon Hanover,
John Cale,
The Victims,
Niagra,
Cal Tjader,
Lizzy Mercier Descloux,
Slick Rick,
Joyce Sims,
X-Ray Spex,
Ronan,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.