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 El Salvador and from Tehran.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Richard Hell and the Voidoids to the grime kids.
I played it at the Spitz.
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 Max Romeo. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Star Department,
Johnny Osbourne,
Amon Düül II,
Ludus,
Pylon,
Lower 48,
Richard Hell and the Voidoids,
Grandmaster Flash,
Curtis Mayfield,
Ken Boothe,
Buzzcocks,
Lafayette Afro Rock Band,
Barrington Levy,
Louis and Bebe Barron,
Kango’s Stein Massive,
Average White Band,
Röyhkä ja Rättö ja Lehtisalo,
Flamin' Groovies,
The Toasters,
Supertramp,
Ultimate Spinach,
Cabaret Voltaire,
Rhythim Is Rhythim,
The Knickerbockers,
Avey Tare & Kría Brekkan,
Tears for Fears,
Dawn Penn,
Roger Hodgson,
Marc Almond,
Hardrive,
Animal Collective,
Visage,
Schoolly D,
Aswad,
The Angels of Light,
Arab on Radar,
Jeru the Damaja,
Fugazi,
The Remains,
Big Daddy Kane,
Girls At Our Best!,
Country Teasers,
Harmonia,
The Moleskins,
The Fire Engines,
Bobby Byrd,
John Coltrane,
Monks,
DJ Sneak,
Absolute Body Control,
DNA,
Roxette,
Television Personalities,
David Axelrod,
Kayak,
Ronnie Foster,
The Shadows of Knight,
Underground Resistance,
Sly & The Family Stone,
Carl Craig,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.