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 Tajikistan and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when David Bowie 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 Warren Ellis to the disco kids.
I played it at Trash.
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 Chrome. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Matthew Bourne 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight 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?
Steve Hackett,
Tommy Roe,
Mary Jane Girls,
Kenny Larkin,
Ornette Coleman,
a-ha,
Quadrant,
The Monks,
Nick Fraelich,
Ossler,
Thompson Twins,
Graham Central Station,
Mr. Review,
Neil Young & Crazy Horse,
Alice Coltrane,
The Music Machine,
The Names,
Bobby Hutcherson,
B.T. Express,
Ronan,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
Qualms,
Davy DMX,
The Chocolate Watch Band,
Scratch Acid,
Laurel Aitken,
Sex Pistols,
Thee Headcoats,
Avey Tare,
Matthew Halsall,
The Moody Blues,
Chrome,
the Association,
Freddie Wadling,
Aural Exciters,
Audionom,
Stiv Bators,
Barbara Tucker,
Los Fastidios,
Lower 48,
the Bar-Kays,
Grauzone,
Magazine,
Index,
Joensuu 1685,
FM Einheit,
Jeff Mills,
Danielle Patucci,
Public Image Ltd.,
Terry Callier,
Pet Shop Boys,
Dawn Penn,
Flash Fearless,
Agitation Free,
The Real Kids,
Jeff Lynne,
The Doors,
Brothers Johnson,
Mandrill,
Lyres,
Stetsasonic,
Scrapy,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.