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 Equatorial Guinea and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide 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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Lucky Dragons to the grunge 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 Vladislav Delay. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal rap 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Gregory Isaacs,
Jimmy McGriff,
Röyhkä ja Rättö ja Lehtisalo,
Kool Moe Dee,
The Flesh Eaters,
Sight & Sound,
Index,
Television,
Bush Tetras,
Silicon Teens,
Desert Stars,
Henry Cow,
Marc Romboy vs. Booka Shade,
Gabor Szabo,
Maleditus Sound,
Quantec,
Girls At Our Best!,
Saccharine Trust,
Bobby Hutcherson,
The Cure,
Accadde A,
Gil Scott Heron,
Jacques Brel,
Hashim,
Adolescents,
The American Breed,
The Blues Magoos,
Metal Thangz,
Black Sheep,
Andrew Hill,
Prince Buster,
Lungfish,
The Shadows of Knight,
Terror Squad Feat. Camron,
Public Enemy,
Lucky Dragons,
Kevin Saunderson,
The Fire Engines,
E-Dancer,
Lou Reed & John Cale,
John Lydon,
Lou Reed & Metallica,
Avey Tare & Kría Brekkan,
Matthew Halsall,
Crispy Ambulance,
The United States of America,
Parry Music,
Funkadelic,
The Associates,
Pharoah Sanders,
Yellowson,
Ohio Players,
Sly & The Family Stone,
Country Joe & The Fish,
Reuben Wilson,
David Bowie,
Section 25,
Ultravox,
Blancmange,
The Sound,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.