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 Shanghai.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
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 Bootsy Collins to the crunk kids.
I played it at the Roxy.
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 Gang of Four. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every John Holt 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 a 808 and a güiro 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Underground Resistance,
Kaleidoscope,
Pierre Henry,
Bobby Sherman,
Cheater Slicks,
Rites of Spring,
Audionom,
Tomorrow,
Clear Light,
Eric B and Rakim,
Fat Boys,
Adolescents,
The Toasters,
Brick,
The Smiths,
Vaughan Mason & Crew,
Sun Ra Arkestra,
The Cramps,
John Holt,
New Age Steppers,
David Bowie,
Sugar Minott,
Tubeway Army,
Tommy Roe,
Prince Buster,
Eli Mardock,
Sonic Youth,
Qualms,
Aural Exciters,
John Foxx,
Sparks,
Avey Tare's Slasher Flicks,
The Invisible,
Electric Light Orchestra,
Kerrie Biddell,
X-Ray Spex,
Wire,
Jacob Miller,
10cc,
Echospace,
Country Joe & The Fish,
The Happenings,
Godley & Creme,
The Sisters of Mercy,
Danielle Patucci,
Laurel Aitken,
The Techniques,
Stetsasonic,
Deepchord,
Depeche Mode,
Skarface,
Delta 5,
Youth Brigade,
Letta Mbulu,
Barry Ungar,
Minutemen,
Visage,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.