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 Macedonia and from Seoul.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Beijing.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Ultravox to the crunk 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 Black Sheep. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Terry Callier,
L. Decosne,
Eric Dolphy,
KRS-One,
Surgeon,
A Flock of Seagulls,
Fluxion,
The Fire Engines,
Pete Rock & C.L. Smooth,
Heaven 17,
Bill Wells,
Harpers Bizarre,
Soulsonic Force,
Andrew Hill,
X-102,
FM Einheit,
Gastr Del Sol,
Rosa Yemen,
Siouxsie and the Banshees,
Grey Daturas,
Don Cherry,
Dawn Penn,
Gabor Szabo,
Mr. Review,
Rites of Spring,
Marc Romboy vs. Booka Shade,
Jesper Dahlbäck,
Man Parrish,
Lower 48,
Cecil Taylor,
Lyres,
Echospace,
OOIOO,
Masters at Work,
Monolake,
Fat Boys,
Deakin,
The Offenders,
Public Image Ltd.,
Avey Tare,
Kayak,
cv313,
Louis and Bebe Barron,
Pharaoh Sanders and the Fire Engines,
Steve Hackett,
JFA,
Ultimate Spinach,
Nick Fraelich,
Jacob Miller,
Metal Thangz,
The Five Americans,
Ash Ra Tempel,
The Smoke,
The Searchers,
Joe Finger,
Shuggie Otis,
Scan 7,
Bad Manners,
Toni Rubio,
Ohio Players,
Clear Light, Clear Light, Clear Light, Clear Light.
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.