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 Ecuador and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Lou Reed 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 Sandy B to the disco kids.
I played it at the Crocodile.
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 Peter & Gordon. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
James Chance & The Contortions,
Johnny Osbourne,
The Mummies,
Angels of Light & Akron/Family,
Donald Byrd,
Pagans,
The Litter,
Big Daddy Kane,
Average White Band,
The Remains,
Mr. Review,
Con Funk Shun,
Flamin' Groovies,
The Techniques,
Electric Light Orchestra,
The Cure,
Sonny Sharrock,
The Tremeloes,
FM Einheit,
Pierre Henry,
Eurythmics,
Rites of Spring,
Marc Almond,
Altered Images,
John Lydon,
Brand Nubian,
the Sonics,
Robert Görl,
The Men They Couldn't Hang,
Strawberry Alarm Clock,
Bootsy's Rubber Band,
Crispian St. Peters,
Drexciya,
Ajijia Myrayebe,
David Axelrod,
DJ Style,
The Associates,
The Dirtbombs,
Black Sheep,
Terrestrial Tones,
Agitation Free,
Byron Stingily,
Anakelly,
The Stooges,
Kings Of Tomorrow,
Spandau Ballet,
One Last Wish,
Boredoms,
The Cosmic Jokers,
Art Ensemble Of Chicago,
The Alarm Clocks,
Sight & Sound,
A Certain Ratio,
The Gories,
Boogie Down Productions,
In Retrospect,
Avey Tare's Slasher Flicks,
Q65,
Bush Tetras,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.