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 Kiribati and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 jazz 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 Mandrill. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Gil Scott Heron,
ABC,
The Music Machine,
The Electric Prunes,
Skarface,
Skaos,
Flash Fearless,
T. Rex,
Y Pants,
Louis and Bebe Barron,
Maurizio,
Throbbing Gristle,
The Gories,
Steve Hackett,
Darondo,
Erykah Badu,
the Soft Cell,
Eric Copeland,
Anthony Braxton,
Barbara Tucker,
Buzzcocks,
Swell Maps,
The Star Department,
Johnny Osbourne,
Ultra Naté,
Joe Smooth,
Sparks,
Index,
The Blues Magoos,
Livin' Joy,
Minnie Riperton,
Heavy D & The Boyz,
Cameo,
Agitation Free,
Kango’s Stein Massive,
Roger Hodgson,
Arthur Verocai,
Deadbeat,
Röyhkä ja Rättö ja Lehtisalo,
Connie Case,
Glenn Branca,
Andrew Hill,
Siouxsie and the Banshees,
Man Eating Sloth,
Supertramp,
Babytalk,
Godley & Creme,
The Kinks,
Byron Stingily,
Reagan Youth,
Tomorrow,
The Mighty Diamonds,
Circle Jerks,
Sound Behaviour,
The Names,
Monks,
Camberwell Now,
Suicide,
Warsaw,
Teenage Jesus and the Jerks,
Porter Ricks,
June Days, June Days, June Days, June Days.
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.