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 Ivory Coast and from Lagos.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe 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 Ash Ra Tempel to the jazz kids.
I played it at the Hacienda.
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 The Zeros. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every the Bar-Kays 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Eve St. Jones,
Kings Of Tomorrow,
The Music Machine,
Soulsonic Force,
Lalann,
Fear,
Model 500,
Neu!,
Arcadia,
Lyres,
Vainqueur,
The Young Rascals,
Jesper Dahlbäck,
Easy Going,
Big Daddy Kane,
Royal Trux,
The Count Five,
Skarface,
Delon & Dalcan,
Underground Resistance,
Gian Franco Pienzio,
The Vogues,
Banda Bassotti,
Black Sheep,
The Peanut Butter Conspiracy,
Khruangbin,
The Move,
Justin Hinds & The Dominoes,
Girls At Our Best!,
Sad Lovers and Giants,
Dawn Penn,
Stockholm Monsters,
EPMD,
Arthur Verocai,
The Moleskins,
In Retrospect,
Blossom Toes,
Dorothy Ashby,
The Misunderstood,
The Human League,
Animal Collective,
Avey Tare's Slasher Flicks,
DJ Sneak,
Lafayette Afro Rock Band,
Lou Reed & Metallica,
Camberwell Now,
Kauko Röyhkä ja Narttu,
Von Mondo,
Ultra Naté,
Chris Corsano,
Cal Tjader,
X-Ray Spex,
The Litter,
The Real Kids,
Jacob Miller,
Sticky Fingaz feat. Raekwon,
The Martian,
Q65,
Ohio Players,
Supertramp, Supertramp, Supertramp, Supertramp.
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.