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 India and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Houston 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 güiro 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 Stiv Bators to the dance 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 New Age Steppers. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Bauhaus 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Masters at Work,
Faraquet,
Quando Quango,
The Names,
the Swans,
Joy Division,
Sun Ra,
Girls At Our Best!,
The Gap Band,
Can,
Albert Ayler,
Avey Tare & Kría Brekkan,
Amon Düül II,
Kenny Larkin,
Grauzone,
Lalo Schifrin,
Fluxion,
Fort Wilson Riot,
Bronski Beat,
Qualms,
Howard Jones,
Colin Newman,
Electric Light Orchestra,
Make Up,
Amon Düül,
Blake Baxter,
Kauko Röyhkä ja Narttu,
The Smoke,
The Alarm Clocks,
Ornette Coleman,
Eden Ahbez,
Letta Mbulu,
Fugazi,
Althea and Donna,
Inner City,
Nik Kershaw,
Jacob Miller,
Fifty Foot Hose,
The Doobie Brothers,
Teenage Jesus and the Jerks,
Panda Bear,
The Seeds,
The Slackers,
Deutsch Amerikanische Freundschaft,
Drexciya,
Ultimate Spinach,
Rod Modell,
The Doors,
Newcleus,
The Jesus and Mary Chain,
Public Image Ltd.,
Matthew Bourne,
Radio Birdman,
Country Teasers,
Cheater Slicks,
Sparks,
The New Christs,
Derrick May,
The Buckinghams,
Orchestral Manoeuvres in the Dark,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.