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 Brunei and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Cluster to the techno 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 Nik Kershaw. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
The Pretty Things,
Buzzcocks,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
Soul Sonic Force,
The Slackers,
Connie Case,
MDC,
Alison Limerick,
Patti Smith,
Livin' Joy,
Black Bananas,
The Fall,
Brick,
Aural Exciters,
Sister Nancy,
Sticky Fingaz feat. Raekwon,
Louis and Bebe Barron,
Chrome,
The Martian,
Television,
Byron Stingily,
Soft Machine,
Richard Hell and the Voidoids,
Black Moon,
Animal Collective,
Stockholm Monsters,
Fluxion,
The Dead C,
Jeff Lynne,
Lalo Schifrin,
Spandau Ballet,
Yusef Lateef,
Barrington Levy,
Agent Orange,
Infiniti,
New Age Steppers,
Jacob Miller,
Rhythim Is Rhythim,
Sight & Sound,
Cybotron,
Jeru the Damaja,
Arcadia,
Art Ensemble Of Chicago,
Simply Red,
The Seeds,
Peter and Kerry,
The Cosmic Jokers,
Angry Samoans,
Lonnie Liston Smith,
Gian Franco Pienzio,
Young Marble Giants,
The Busters,
The Tremeloes,
E-Dancer,
Oblivians,
Hashim,
Sparks,
Ten City,
Marc Romboy vs. Booka Shade,
The Dirtbombs,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.