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 Jamaica and from Manchester.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Madrid 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 guitar 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 Lou Reed to the rock 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 Gastr Del Sol. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Metal Thangz,
Depeche Mode,
Interpol,
Vaughan Mason & Crew,
Flash Fearless,
Brothers Johnson,
Symarip,
John Coltrane,
Anakelly,
Brass Construction,
DeepChord presents Echospace,
Kerrie Biddell,
Technova,
The Wake,
Frankie Knuckles,
The Pretty Things,
Echospace,
Kevin Saunderson,
Ralphi Rosario,
Eyeless In Gaza,
Ash Ra Tempel,
Max Romeo,
Sound Behaviour,
Notorious Big And Bone Thugs,
Richard Hell and the Voidoids,
Flamin' Groovies,
Johnny Osbourne,
Hardrive,
Glambeats Corp.,
Strawberry Alarm Clock,
Lightning Bolt,
London Community Gospel Choir,
Aswad,
The West Coast Pop Art Experimental Band,
Tres Demented,
Moby Grape,
LL Cool J,
Sad Lovers and Giants,
Brick,
Jandek,
Easy Going,
OOIOO,
Justin Hinds & The Dominoes,
The Neon Judgement,
Dead Boys,
The Blues Magoos,
Black Sheep,
Ultravox,
Ludus,
The Offenders,
EPMD,
Silicon Teens,
The Fire Engines,
It's A Beautiful Day,
Drive Like Jehu,
Inner City,
Au Pairs,
Index,
Jimmy McGriff,
Soulsonic Force,
Major Organ And The Adding Machine,
Public Image Ltd.,
The Saints, The Saints, The Saints, The Saints.
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.