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 Bhutan and from Mumbai.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Spokane 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 synthesizer 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 New Age Steppers to the dance 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 Warsaw. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Unrelated Segments,
Maleditus Sound,
Althea and Donna,
Minor Threat,
The Men They Couldn't Hang,
Jacob Miller,
Hoover,
Arcadia,
Robert Görl,
The Moleskins,
Charles Mingus,
Peter & Gordon,
Masters at Work,
CMW,
Gary Puckett & The Union Gap,
The Neon Judgement,
Lalann,
The Fall,
DJ Style,
Ash Ra Tempel,
Ten City,
Los Fastidios,
Eden Ahbez,
The Grass Roots,
Shoche,
Stereo Dub,
Soul II Soul,
Lizzy Mercier Descloux,
Fifty Foot Hose,
Roxette,
Mo-Dettes,
Anakelly,
Tears for Fears,
Boogie Down Productions,
Barrington Levy,
the Association,
Television,
Massinfluence,
Jesper Dahlbäck,
Larry & the Blue Notes,
Nick Cave & The Bad Seeds,
Symarip,
China Crisis,
Ultravox,
Faraquet,
Wally Richardson,
Joe Finger,
Whodini,
Eurythmics,
Loose Ends,
The Smiths,
Delta 5,
Matthew Bourne,
AZ,
Josef K,
Godley & Creme,
Interpol,
Bobby Hutcherson,
Neil Young,
Steve Hackett,
The Barracudas,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.