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 Tuvalu and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Winnipeg 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 Bowie practice in a loft in Bromley.
I was working on the snare 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 Rosa Yemen to the funk kids.
I played it at Trash.
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 Public Image Ltd.. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Oneida 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 '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Ohio Players,
Fela Kuti,
Peter and Kerry,
Mandrill,
Robert Wyatt,
Zapp,
The Young Rascals,
The Sound,
Deadbeat,
Duran Duran,
The Fire Engines,
Sister Nancy,
The Modern Lovers,
Terry Callier,
Public Image Ltd.,
Super Lover Cee & Casanova Rud,
The Zeros,
Section 25,
B.T. Express,
Bush Tetras,
Sound Behaviour,
Nils Olav,
UT,
Marmalade,
Dead Boys,
Bang On A Can,
Half Japanese,
Pagans,
Sam Rivers,
Joensuu 1685,
Bobby Hutcherson,
Sunsets and Hearts,
DJ Sneak,
The Selecter,
The Red Krayola,
Sarah Menescal,
Buzzcocks,
Royal Trux,
Barclay James Harvest,
Gichy Dan,
The Cosmic Jokers,
Maurizio,
Piero Umiliani,
Moby Grape,
La Düsseldorf,
The Electric Prunes,
The Gladiators,
Fear,
Marshall Jefferson,
De La Soul & Jungle Brothers,
Pole,
Louis and Bebe Barron,
The Slackers,
Darondo,
Los Fastidios,
Kenny Larkin,
The Human League,
Boredoms,
Popol Vuh,
Lou Christie,
Andrew Ashong & Theo Parrish,
H. Thieme,
The Smiths, The Smiths, The Smiths, The Smiths.
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.