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 Serbia and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Accra 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 rhodes 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 Peter and Kerry to the funk 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 Harpers Bizarre. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
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,
Harry Pussy,
Godley & Creme,
the Bar-Kays,
Tim Buckley,
Art Ensemble Of Chicago,
cv313,
Ultravox,
Johnny Clarke,
The Count Five,
Henry Cow,
The Move,
Agitation Free,
Arab on Radar,
Roy Ayers Ubiquity,
Gregory Isaacs,
Rhythim Is Rhythim,
New York Dolls,
Cluster,
Reuben Wilson,
Robert Hood,
The Mighty Diamonds,
Fluxion,
The Tremeloes,
New Age Steppers,
Kerrie Biddell,
Jacques Brel,
Stiv Bators,
Albert Ayler,
Bizarre Inc.,
The Cramps,
Pagans,
Nik Kershaw,
Lakeside,
Sonny Sharrock,
Joe Finger,
The Durutti Column,
Popol Vuh,
Stereo Dub,
Soul Sonic Force,
Letta Mbulu,
Half Japanese,
Wire,
Roxy Music,
The Invisible,
The Blues Magoos,
Steve Hackett,
Sex Pistols,
Ohio Players,
Saccharine Trust,
The Beau Brummels,
Bobby Sherman,
The Saints,
Technova,
Little Man,
Severed Heads,
Gang Green,
Metal Thangz,
Eddi Front,
Scan 7,
Bronski Beat,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.