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 Antigua and from Milan.
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 Edmonton and Woodstock.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when David Bowie 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 Gabor Szabo to the jazz kids.
I played it at the 40 Watt.
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 Jesper Dahlback. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Tommy Roe,
The Last Poets,
Lee Hazlewood,
Masters at Work,
Skriet,
Sparks,
Kings Of Tomorrow,
The Knickerbockers,
Anakelly,
Minor Threat,
Yaz,
The Blues Magoos,
Joe Finger,
Smog,
Intrusion,
Flash Fearless,
AZ,
Sonny Sharrock,
Grandmaster Flash and the Furious Five,
Ten City,
Albert Ayler,
The Human League,
Matthew Halsall,
Terry Callier,
Deutsch Amerikanische Freundschaft,
The Remains,
Lakeside,
Gang of Four,
The Sonics,
James Chance & The Contortions,
Supertramp,
The Dead C,
Fugazi,
Jacob Miller,
Fluxion,
Public Image Ltd.,
Aloha Tigers,
Accadde A,
ABBA,
Juan Atkins,
Talk Talk,
Suburban Knight,
The Divine Comedy,
The Fortunes,
Hot Snakes,
Rapeman,
Hardrive,
ABC,
Scan 7,
Zero Boys,
KRS-One,
The New Christs,
Crash Course in Science,
FM Einheit,
Pierre Henry,
The Smiths,
Sun Ra Arkestra,
Tears for Fears,
The Shadows of Knight,
The Count Five,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.