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 Djibouti and from Milan.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Bologna 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 oboe 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 Moss Icon to the disco kids.
I played it at the Astoria.
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 Steve Hackett. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Spandau Ballet 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 '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Black Moon,
Lindisfarne,
Lalo Schifrin,
Hot Snakes,
Flipper,
Bush Tetras,
Soulsonic Force,
Bobby Hutcherson,
Brand Nubian,
Siouxsie and the Banshees,
Jacob Miller,
Japan,
Con Funk Shun,
Ultimate Spinach,
Joy Division,
Scientists,
Lakeside,
Tres Demented,
Trumans Water,
Lightning Bolt,
Oneida,
Curtis Mayfield,
Liliput,
The Human League,
Tropical Tobacco,
Bootsy Collins,
Warren Ellis,
The Gun Club,
The Victims,
Grauzone,
The Music Machine,
F. McDonald,
Kenny Larkin,
Laurel Aitken,
The Selecter,
Crash Course in Science,
Ash Ra Tempel,
Popol Vuh,
Wally Richardson,
Agitation Free,
The Mummies,
Cal Tjader,
Jeff Mills,
Ten City,
The Happenings,
PIL,
Country Joe & The Fish,
The Pretty Things,
Carl Craig,
Ronnie Foster,
Marvin Gaye,
Gabor Szabo,
Television,
The Names,
Chris Corsano,
Los Fastidios,
The Detroit Cobras,
Eric Copeland,
AZ,
The Searchers,
Radio Birdman,
Pantaleimon,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.