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 Rwanda and from Hong Kong.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Bologna 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 808 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 Lou Reed to the crunk 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 Barbara Tucker. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Charles Mingus,
Joensuu 1685,
Mark Hollis,
Bizarre Inc.,
Smog,
The Blackbyrds,
The Doobie Brothers,
Amon Düül,
Chris & Cosey,
Pet Shop Boys,
Rhythim Is Rhythim,
Jeff Lynne,
Deadbeat,
Bang On A Can,
Judy Mowatt,
Deepchord,
Sparks,
Marshall Jefferson,
Bobby Sherman,
Sun Ra,
Darondo,
Jesper Dahlbäck,
Half Japanese,
The Gun Club,
Marine Girls,
Aaron Thompson,
Fad Gadget,
Scratch Acid,
Lalann,
Malaria!,
Notorious BIG live in Amsterdam,
Dorothy Ashby,
Davy DMX,
Dennis Brown,
Robert Görl,
Bootsy's Rubber Band,
The Grass Roots,
Avey Tare's Slasher Flicks,
The Move,
Curtis Mayfield,
Man Parrish,
Minutemen,
Harmonia,
Pagans,
Stetsasonic,
Terror Squad Feat. Camron,
Kerri Chandler,
Liaisons Dangereuses,
Circle Jerks,
Arcadia,
Sandy B,
A Certain Ratio,
June of 44,
Camouflage,
MC5,
Sällskapet,
The West Coast Pop Art Experimental Band,
Jacob Miller,
Kauko Röyhkä ja Narttu,
Marc Almond,
David McCallum,
Alphaville, Alphaville, Alphaville, Alphaville.
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.