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 Uganda and from Lille.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Little Man to the jazz 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 Fela Kuti. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Roy Ayers 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare 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 Cosmic Jokers,
It's A Beautiful Day,
Camouflage,
Rod Modell,
Sun City Girls,
the Swans,
Aloha Tigers,
The Electric Prunes,
Thompson Twins,
Avey Tare,
Sound Behaviour,
Arcadia,
Curtis Mayfield,
Bootsy Collins,
La Düsseldorf,
K-Klass,
Jacob Miller,
FM Einheit,
Delon & Dalcan,
Unwound,
Max Romeo,
Ossler,
AZ,
Babytalk,
Livin' Joy,
The Young Rascals,
The Blues Magoos,
Jerry's Kids,
ABC,
Warren Ellis,
Drexciya,
New Age Steppers,
Wire,
X-101,
Bad Manners,
Deepchord,
The Beau Brummels,
Skaos,
The Birthday Party,
Rhythm & Sound,
Unrelated Segments,
The Walker Brothers,
Dead Boys,
Bush Tetras,
Television Personalities,
Heaven 17,
Idris Muhammad,
Das Ding,
Jandek,
Ohio Players,
Avey Tare's Slasher Flicks,
Gong,
Easy Going,
The Trojans,
Andrew Hill,
Tres Demented,
Oppenheimer Analysis,
The Sound,
Anthony Braxton,
The Seeds,
Country Joe & The Fish,
Gerry Rafferty,
H. Thieme,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.