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 France and from Johannesburg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
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 rhodes 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 Jeru the Damaja to the dance kids.
I played it at the Spitz.
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 Erasure. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot 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?
The Jesus and Mary Chain,
Jacob Miller,
Talk Talk,
Nick Fraelich,
The Fuzztones,
Eli Mardock,
Neil Young,
The Black Dice,
Alton Ellis,
The Evens,
Mary Jane Girls,
Fat Boys,
Delta 5,
The Standells,
Moby Grape,
The Buckinghams,
Lou Reed & Metallica,
Cabaret Voltaire,
Sunsets and Hearts,
Y Pants,
Susan Cadogan,
The Gories,
ABBA,
The Searchers,
Nik Kershaw,
The Electric Prunes,
The Knickerbockers,
Circle Jerks,
CMW,
The Fugs,
OOIOO,
Gang Starr,
Ronnie Foster,
New Age Steppers,
Skaos,
Bizarre Inc.,
Young Marble Giants,
Gong,
Mantronix,
Bobby Sherman,
Pole,
Dead Boys,
Heaven 17,
Magma,
Nirvana,
Thompson Twins,
Fugazi,
Masters at Work,
Depeche Mode,
Oppenheimer Analysis,
La Düsseldorf,
Black Bananas,
Quando Quango,
Marc Romboy vs. Booka Shade,
John Holt,
Joey Negro,
Bronski Beat,
The West Coast Pop Art Experimental Band,
Soulsonic Force,
Kerrie Biddell,
Radiohead,
the Sonics,
48th St. Collective,
Pete Rock & C.L. Smooth,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.