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 Bahrain and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Aswad to the punk kids.
I played it at Cafe Wha.
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 Blancmange. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Boz Scaggs 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Bluetip,
The Star Department,
Barry Ungar,
The United States of America,
Mr. Review,
Deepchord,
Crime,
Crash Course in Science,
Lalo Schifrin,
Liaisons Dangereuses,
Pantytec,
Roxy Music,
Albert Ayler,
T.S.O.L.,
Derrick May,
Wally Richardson,
Louis and Bebe Barron,
The Neon Judgement,
Robert Hood,
Lonnie Liston Smith,
Eve St. Jones,
Lafayette Afro Rock Band,
Lightning Bolt,
The Standells,
Camron Feat. Jay Z And Juelz,
The Fall,
Magma,
Marshall Jefferson,
Terry Callier,
Ossler,
Harpers Bizarre,
Marvin Gaye,
Suburban Knight,
Fugazi,
Sight & Sound,
OOIOO,
the Association,
These Immortal Souls,
Joey Negro,
The Music Machine,
Scott Walker,
The Mighty Diamonds,
The Saints,
Yellowson,
Procol Harum,
Lower 48,
Bobby Hutcherson,
The Men They Couldn't Hang,
Eurythmics,
The Remains,
Kevin Saunderson,
The Dead C,
Swell Maps,
Jimmy McGriff,
Mary Jane Girls,
Rakim,
Rotary Connection,
Maleditus Sound,
Bad Manners,
Manfred Mann's Earth Band,
Drexciya, Drexciya, Drexciya, Drexciya.
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.