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 Benin and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Gian Franco Pienzio to the techno kids.
I played it at the Spitz.
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 The Skatalites. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Johnny Osbourne 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 '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Liaisons Dangereuses,
Mad Mike,
Pulsallama,
Scott Walker,
Oppenheimer Analysis,
Roy Ayers Ubiquity,
New York Dolls,
H. Thieme,
Freddie Wadling,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
The American Breed,
Lee Hazlewood,
The Selecter,
The Chocolate Watch Band,
Tres Demented,
Scientists,
The Dirtbombs,
Rahsaan Roland Kirk,
Grey Daturas,
PIL,
Girls At Our Best!,
Gregory Isaacs,
the Fania All-Stars,
Lou Reed,
Qualms,
Tom Boy,
Larry & the Blue Notes,
Pere Ubu,
Roxy Music,
Khruangbin,
Nas,
Lakeside,
The Raincoats,
Lindisfarne,
The Standells,
The Gories,
Ronnie Foster,
La Düsseldorf,
Procol Harum,
Chrome,
Don Cherry,
D'Angelo,
Teenage Jesus and the Jerks,
Marshall Jefferson,
Ice-T,
Eddi Front,
Amon Düül,
John Coltrane,
Pharoah Sanders,
The Monochrome Set,
Agitation Free,
Peter and Kerry,
T.S.O.L.,
The Fugs,
The New Christs,
Al Stewart,
Curtis Mayfield,
Sandy B,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.