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 Djibouti and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Arthur Verocai to the grime kids.
I played it at CBGB's.
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 Bobby Hutcherson. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Donny Hathaway,
Matthew Bourne,
Rhythm & Sound,
Bill Wells,
Fluxion,
Trumans Water,
Junior Murvin,
Eli Mardock,
Tommy Roe,
Ohio Players,
Brick,
Lou Reed & John Cale,
The Seeds,
Oneida,
Gil Scott-Heron and Jamie xx,
Sparks,
Deutsch Amerikanische Freundschaft,
Sandy B,
MC5,
Sarah Menescal,
Negative Approach,
Roxy Music,
London Community Gospel Choir,
Kerri Chandler,
The Chocolate Watch Band,
Andrew Ashong & Theo Parrish,
Pantaleimon,
Model 500,
Chris & Cosey,
Funky Four + One,
Lou Reed,
Lebanon Hanover,
Jesper Dahlbäck,
Newcleus,
Magazine,
The Walker Brothers,
Eve St. Jones,
Suicide,
It's A Beautiful Day,
Von Mondo,
Agent Orange,
Janne Schatter,
Notorious BIG live in Amsterdam,
K-Klass,
The Martian,
Warsaw,
June of 44,
The Residents,
The Toasters,
Lafayette Afro Rock Band,
The Buckinghams,
Rotary Connection,
Drive Like Jehu,
ABBA,
The Fugs,
MDC,
Franke,
Peter and Kerry,
Leonard Cohen,
The Litter,
Sun Ra Arkestra,
Kurtis Blow,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.