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 Bolivia and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer 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 Interpol to the grime kids.
I played it at the Astoria.
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 Nation of Ulysses. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe 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 sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Ituana,
Kango’s Stein Massive,
Half Japanese,
Loose Ends,
Joy Division,
The Move,
Rowland S Howard / Lydia Lunch,
Funky Four + One,
Amon Düül,
Slave,
Lee Hazlewood,
Clear Light,
Davy DMX,
Art Ensemble Of Chicago,
The Trojans,
Beasts of Bourbon,
Shoche,
Khruangbin,
Flamin' Groovies,
Bush Tetras,
Moebius,
Gil Scott-Heron and Jamie xx,
Nik Kershaw,
Dave Gahan,
Electric Light Orchestra,
Ash Ra Tempel,
The Blues Magoos,
Spoonie Gee,
Blake Baxter,
Main Source,
Depeche Mode,
Cybotron,
The Gladiators,
Sun City Girls,
Man Parrish,
The Tremeloes,
Kenny Larkin,
Yazoo,
Donny Hathaway,
Scientists,
The Evens,
Oppenheimer Analysis,
Stereo Dub,
Swell Maps,
kango's stein massive,
Procol Harum,
Mars,
Nirvana,
Harry Pussy,
Lou Christie,
June Days,
Lou Reed & Metallica,
Tres Demented,
Johnny Clarke,
Los Fastidios,
Erykah Badu,
Major Organ And The Adding Machine,
Roxy Music,
Mission of Burma,
The Misunderstood,
Terry Callier,
Brick,
Sun Ra Arkestra,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.