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 Barbados and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Manila 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Nick Cave & The Bad Seeds to the techno 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 the Sonics. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Maleditus Sound,
Mars,
The Pop Group,
The Searchers,
Steve Hackett,
Beasts of Bourbon,
Vainqueur,
Johnny Clarke,
Lightning Bolt,
Mandrill,
Mark Hollis,
Khruangbin,
Tim Buckley,
Avey Tare,
Lou Christie,
The Shadows of Knight,
New York Dolls,
Bootsy's Rubber Band,
Freddie Wadling,
The Litter,
Erykah Badu,
DeepChord presents Echospace,
U.S. Maple,
Mantronix,
Thompson Twins,
The Pretty Things,
The Dirtbombs,
JFA,
Silicon Teens,
Con Funk Shun,
Frankie Knuckles,
Jawbox,
Spandau Ballet,
Aloha Tigers,
Inner City,
Rekid,
Country Joe & The Fish,
Organ,
the Bar-Kays,
The Star Department,
Trumans Water,
Jesper Dahlback,
Marc Almond,
Gang Green,
Icehouse,
David Axelrod,
The Alarm Clocks,
Crime,
Public Enemy,
The Trojans,
Fugazi,
Zapp,
New Order,
Cabaret Voltaire,
the Germs,
Judy Mowatt,
Alice Coltrane,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.