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 Brunei and from Johannesburg.
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 1971.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Make Up to the techno 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 Gang Green. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Index,
Mad Mike,
Lizzy Mercier Descloux,
Icehouse,
Bootsy Collins,
Supertramp,
The Leaves,
Swans,
Von Mondo,
Kool G Rap & DJ Polo,
Eve St. Jones,
Charles Mingus,
EPMD,
Talk Talk,
Quadrant,
Minor Threat,
Massinfluence,
Magma,
Eurythmics,
Hasil Adkins,
Mandrill,
Eric B and Rakim,
Rhythim Is Rhythim,
Gastr Del Sol,
Frankie Knuckles,
Sound Behaviour,
Fluxion,
Fort Wilson Riot,
Stetsasonic,
Tommy Roe,
Brass Construction,
Q65,
Jerry's Kids,
Eyeless In Gaza,
Wire,
Michelle Simonal,
Motorama,
Amazonics,
The Detroit Cobras,
Big Daddy Kane,
DNA,
Yusef Lateef,
Morten Harket,
Lee Hazlewood,
Con Funk Shun,
Quantec,
Ultimate Spinach,
Eric Copeland,
Juan Atkins,
The Invisible,
Depeche Mode,
Scott Walker + Sunn O))),
Intrusion,
Rakim,
Lakeside,
Agent Orange,
Y Pants,
The Fugs,
Easy Going,
Eden Ahbez,
Notorious BIG live in Amsterdam,
The Chocolate Watch Band,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.