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 Marshall Islands and from Sao Paulo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Columbus and Lille.
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 Michael McDonald 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 10cc to the jazz 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 Bang on a Can All-Stars. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Half Japanese 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
John Lydon,
Half Japanese,
Intrusion,
JFA,
The Associates,
Amon Düül,
Cybotron,
the Fania All-Stars,
Juan Atkins,
Sad Lovers and Giants,
Maleditus Sound,
Kenny Larkin,
Brass Construction,
Interpol,
The Residents,
Nick Fraelich,
Maurizio,
Joensuu 1685,
Hashim,
Cameo,
H. Thieme,
Gerry Rafferty,
Subhumans,
La Düsseldorf,
Lakeside,
Babytalk,
LL Cool J,
Harpers Bizarre,
Chrome,
Eric Copeland,
T. Rex,
Todd Rundgren,
Flash Fearless,
Bizarre Inc.,
Sex Pistols,
Donald Byrd,
The Red Krayola,
Nico,
Lee Hazlewood,
B.T. Express,
Andrew Ashong & Theo Parrish,
These Immortal Souls,
Pharaoh Sanders and the Fire Engines,
Mars,
Connie Case,
Glambeats Corp.,
Nirvana,
Public Image Ltd.,
Ken Boothe,
DJ Sneak,
The Dirtbombs,
The Vogues,
Terry Callier,
The Skatalites,
Vladislav Delay,
The Velvet Underground,
The Zeros,
X-Ray Spex,
Mr. Review,
Fela Kuti,
Spoonie Gee,
Fat Boys,
Quadrant,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.