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 Yemen and from Madrid.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Milan 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 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 Electric Light Orchestra to the crunk kids.
I played it at the Crocodile.
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 Music Machine. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
The Dirtbombs,
The Toasters,
Roy Ayers Ubiquity,
The Gories,
De La Soul & Jungle Brothers,
Girls At Our Best!,
Fat Boys,
Super Lover Cee & Casanova Rud,
Ronan,
Lungfish,
JFA,
Delta 5,
Popol Vuh,
Liaisons Dangereuses,
Pharaoh Sanders and the Fire Engines,
June Days,
The Electric Prunes,
The Searchers,
Laurel Aitken,
The Doobie Brothers,
Alphaville,
Rufus Thomas,
Roy Ayers,
The Litter,
Throbbing Gristle,
Sandy B,
The Jesus and Mary Chain,
Barclay James Harvest,
Scratch Acid,
Cymande,
F. McDonald,
Loose Ends,
Neil Young,
Toni Rubio,
Ten City,
Bobby Sherman,
Metal Thangz,
Terry Callier,
Stereo Dub,
Neu!,
Lou Reed & John Cale,
Tears for Fears,
Warren Ellis,
Maleditus Sound,
Henry Cow,
Slave,
Alice Coltrane,
Jawbox,
8 Eyed Spy,
Echospace,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Barrington Levy,
Avey Tare,
Don Cherry,
Röyhkä ja Rättö ja Lehtisalo,
Minny Pops,
Kurtis Blow,
Eyeless In Gaza,
Urselle,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.