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 Zambia and from Bologna.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Barrington Levy 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 Louis and Bebe Barron. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Chris Corsano,
Arthur Verocai,
Bang on a Can All-Stars,
Barbara Tucker,
Gastr Del Sol,
Black Pus,
Eden Ahbez,
The Monks,
Danielle Patucci,
Sad Lovers and Giants,
OOIOO,
Lightning Bolt,
The Gun Club,
Donny Hathaway,
The Smoke,
Siglo XX,
T.S.O.L.,
Dead Boys,
Porter Ricks,
Leonard Cohen,
The Human League,
Youth Brigade,
Neil Young,
Hashim,
Terrestrial Tones,
Teenage Jesus and the Jerks,
Tropical Tobacco,
Eric B and Rakim,
Avey Tare,
Monolake,
Nirvana,
Roy Ayers,
Talk Talk,
Nico,
Rufus Thomas,
A Certain Ratio,
Magazine,
Gary Puckett & The Union Gap,
Faust,
Sight & Sound,
Tom Boy,
The New Christs,
FM Einheit,
Dark Day,
Bob Dylan,
Pulsallama,
The Electric Prunes,
Excepter,
Mark Hollis,
Jesper Dahlbäck,
The Smiths,
The Detroit Cobras,
John Coltrane,
Derrick Morgan,
Matthew Bourne,
Section 25,
Gang Starr,
Ultimate Spinach,
cv313,
The Invisible,
K-Klass,
Faraquet,
KRS-One, KRS-One, KRS-One, KRS-One.
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.