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 Trinidad & Tobago and from New York.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Girls At Our Best! to the grunge kids.
I played it at the Troubador.
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 Alton Ellis. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Young Marble Giants 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Nils Olav,
Tropical Tobacco,
Sam Rivers,
kango's stein massive,
The Gladiators,
H. Thieme,
The Neon Judgement,
Robert Görl,
Model 500,
Alison Limerick,
Joy Division,
Cluster,
ABBA,
Gabor Szabo,
Little Man,
Eric B and Rakim,
Newcleus,
Whodini,
John Holt,
The Associates,
The Doors,
Isaac Hayes,
10cc,
Warren Ellis,
Cymande,
James Chance & The Contortions,
The Selecter,
U.S. Maple,
Harmonia,
Scratch Acid,
Connie Case,
Kurtis Blow,
Nik Kershaw,
Althea and Donna,
Dead Boys,
Grauzone,
Sixth Finger,
Cabaret Voltaire,
Bauhaus,
Kango’s Stein Massive,
Trumans Water,
Maleditus Sound,
Wally Richardson,
Pete Rock & C.L. Smooth,
Faraquet,
Janne Schatter,
Funkadelic,
the Swans,
Freddie Wadling,
Symarip,
KRS-One,
Rites of Spring,
The Martian,
Make Up,
Anakelly,
JFA,
Thinking Fellers Union Local 282,
Oppenheimer Analysis,
The Divine Comedy,
Vladislav Delay,
Slick Rick,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.