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 Sierra Leone and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 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 Minnie Riperton to the rock 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 Gerry Rafferty. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal disco 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 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 Flesh Eaters record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Yazoo,
Severed Heads,
Robert Wyatt,
Vaughan Mason & Crew,
R.M.O.,
Eyeless In Gaza,
The Sonics,
E-Dancer,
Average White Band,
Main Source,
The Monochrome Set,
Radiopuhelimet,
Be Bop Deluxe,
John Cale,
Gian Franco Pienzio,
Pantaleimon,
The Five Americans,
This Heat,
Joy Division,
Eurythmics,
Roger Hodgson,
The Beau Brummels,
Audionom,
Jimmy McGriff,
Soul Sonic Force,
Banda Bassotti,
Ponytail,
Peter Gordon & Love of Life Orchestra,
The Pop Group,
The Smoke,
Notorious Big And Bone Thugs,
Barclay James Harvest,
The Chocolate Watch Band,
Rhythm & Sound,
U.S. Maple,
Wolf Eyes,
Black Sheep,
Ralphi Rosario,
Big Daddy Kane,
Lindisfarne,
Todd Terry,
Roxy Music,
Ultramagnetic MC's,
Swell Maps,
Throbbing Gristle,
Alice Coltrane,
The Kinks,
UT,
Public Image Ltd.,
Bang on a Can All-Stars,
World's Most,
Sonny Sharrock,
The Detroit Cobras,
Groovy Waters,
The Moleskins,
Agent Orange,
Janne Schatter,
The Standells,
Country Teasers,
Soft Machine,
Royal Trux,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.