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 Norway and from Taipei.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Goldenarms to the funk 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 The Move. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
The Victims,
Skriet,
Kango’s Stein Massive,
Eli Mardock,
8 Eyed Spy,
B.T. Express,
Stereo Dub,
Bush Tetras,
Mars,
The Cosmic Jokers,
Procol Harum,
Sun Ra Arkestra,
The Red Krayola,
The Doobie Brothers,
Amazonics,
The Sound,
The Move,
Magazine,
The Pop Group,
James White and The Blacks,
Popol Vuh,
Q65,
Mark Hollis,
The Trojans,
Robert Hood,
Kurtis Blow,
Supertramp,
Gregory Isaacs,
Easy Going,
CMW,
Eddi Front,
Matthew Bourne,
Camberwell Now,
Harpers Bizarre,
Sparks,
Grandmaster Flash,
Bad Manners,
Pantaleimon,
Buzzcocks,
The Motions,
Nick Fraelich,
The Chocolate Watch Band,
Soulsonic Force,
Malaria!,
Girls At Our Best!,
Bill Wells,
The Velvet Underground,
Flash Fearless,
The Index,
Mission of Burma,
Joensuu 1685,
The Walker Brothers,
Mo-Dettes,
Moss Icon,
The Real Kids,
Pagans,
Intrusion,
Minutemen,
Interpol,
Crash Course in Science,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.