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 Jordan and from Mexico City.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when Lou Reed 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 Lindisfarne to the disco kids.
I played it at Cafe Wha.
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 Rhythim Is Rhythim. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Marmalade 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 '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
The Doors,
The Neon Judgement,
John Holt,
Bobby Hutcherson,
Motorama,
Accadde A,
Letta Mbulu,
Chrome,
The Barracudas,
Joe Finger,
The Birthday Party,
Flash Fearless,
The Beau Brummels,
The Gun Club,
The Blackbyrds,
Cabaret Voltaire,
Arcadia,
The Move,
The Mighty Diamonds,
L. Decosne,
Saccharine Trust,
Major Organ And The Adding Machine,
Masters at Work,
Khruangbin,
Radiopuhelimet,
Maleditus Sound,
The Doobie Brothers,
James White and The Blacks,
Eyeless In Gaza,
Janne Schatter,
Orchestral Manoeuvres in the Dark,
The Trojans,
Ronan,
The Pop Group,
Frankie Knuckles,
Jawbox,
Warsaw,
Henry Cow,
Eric B and Rakim,
Peter & Gordon,
Joe Smooth,
Kauko Röyhkä ja Narttu,
Eden Ahbez,
Jacques Brel,
cv313,
Gang Gang Dance,
Grauzone,
Althea and Donna,
Donny Hathaway,
World's Most,
Negative Approach,
Sun City Girls,
Prince Buster,
Pet Shop Boys,
Con Funk Shun,
Max Romeo,
Pete Rock & C.L. Smooth,
Al Stewart,
Kevin Saunderson,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.