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 Laos and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1977.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Motions to the electroclash kids.
I played it at the Hacienda.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Amon Düül 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Drexciya,
Saccharine Trust,
Dual Sessions,
Pylon,
Symarip,
The Peanut Butter Conspiracy,
Sight & Sound,
The Offenders,
Eddi Front,
The Gladiators,
Royal Trux,
Sandy B,
Hasil Adkins,
Silicon Teens,
Los Fastidios,
Tom Boy,
Manfred Mann's Earth Band,
The Zeros,
Brass Construction,
The Blues Magoos,
Funky Four + One,
The Gun Club,
Freddie Wadling,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
Rufus Thomas,
Tubeway Army,
The Pretty Things,
Slave,
Lalann,
June of 44,
Depeche Mode,
Be Bop Deluxe,
Outsiders,
Dead Boys,
Fifty Foot Hose,
Kauko Röyhkä ja Narttu,
The Trojans,
Archie Shepp,
Colin Newman,
Derrick May,
Agitation Free,
Drive Like Jehu,
Second Layer,
Gil Scott-Heron and Jamie xx,
Ossler,
Albert Ayler,
The Divine Comedy,
Wings,
Whodini,
Gerry Rafferty,
Sällskapet,
Minny Pops,
Amon Düül II,
The Stooges,
The Black Dice,
Marcia Griffiths,
Erasure,
Kerrie Biddell,
Wasted Youth,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.