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 Ukraine and from Portland.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Philadelphia 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 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 The Dave Clark Five to the rap 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 Junior Murvin. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 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 marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
a-ha,
Electric Prunes,
Sonny Sharrock,
The Selecter,
Wolf Eyes,
Pierre Henry,
Röyhkä ja Rättö ja Lehtisalo,
Blake Baxter,
Soul II Soul,
The Martian,
Yaz,
The Star Department,
Deutsch Amerikanische Freundschaft,
Sandy B,
Matthew Bourne,
Sun City Girls,
The Jesus and Mary Chain,
Section 25,
The Shadows of Knight,
Darondo,
The Leaves,
Toni Rubio,
The Associates,
Rhythim Is Rhythim,
The Chocolate Watch Band,
The Tremeloes,
Heavy D & The Boyz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tropical Tobacco,
Monks,
Motorama,
Leonard Cohen,
Jeff Lynne,
DNA,
Ludus,
Roy Ayers,
Anakelly,
Talk Talk,
Dave Gahan,
MC5,
The Blues Magoos,
Drive Like Jehu,
Barry Ungar,
Man Parrish,
Porter Ricks,
Deepchord,
Moebius,
The Grass Roots,
Nirvana,
Japan,
Country Teasers,
The Cowsills,
Neil Young & Crazy Horse,
Boredoms,
Lou Reed,
The Litter,
Bronski Beat,
Icehouse,
Blossom Toes,
Inner City,
Sparks,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.