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 Poland and from Jakarta.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Cairo 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 Country Joe & The Fish to the punk 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 Joensuu 1685. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Art Ensemble Of Chicago,
Robert Hood,
Man Eating Sloth,
Grauzone,
Qualms,
Vaughan Mason & Crew,
Cecil Taylor,
Khruangbin,
The Doors,
Judy Mowatt,
Amon Düül,
The Doobie Brothers,
The Cramps,
Make Up,
One Last Wish,
Depeche Mode,
Grandmaster Flash and the Furious Five,
CMW,
Letta Mbulu,
Harry Pussy,
Franke,
Amazonics,
The Dirtbombs,
The Cowsills,
Ossler,
Tubeway Army,
Sonny Sharrock,
The Searchers,
Supertramp,
Maurizio,
Vladislav Delay,
Spandau Ballet,
The Modern Lovers,
Wolf Eyes,
Quantec,
Althea and Donna,
Monolake,
Lou Reed,
Anakelly,
The Happenings,
Laurel Aitken,
The Music Machine,
Eli Mardock,
The Barracudas,
Black Flag,
The Residents,
Pantaleimon,
The Evens,
T. Rex,
Con Funk Shun,
The Move,
Anthony Braxton,
Technova,
Nik Kershaw,
Japan,
Kerrie Biddell,
Pharaoh Sanders and the Fire Engines,
Tim Buckley,
Mandrill,
The Litter, The Litter, The Litter, The Litter.
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.