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 Guatemala and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Soft Cell to the electroclash 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 Sixth Finger. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Dawn Penn,
Harmonia,
Cluster,
Jimmy McGriff,
The Names,
Radiohead,
The Blues Magoos,
the Soft Cell,
Echospace,
MDC,
Flamin' Groovies,
Porter Ricks,
X-Ray Spex,
Model 500,
Flipper,
Pharoah Sanders,
Idris Muhammad,
Khruangbin,
The Royal Family And The Poor,
Desert Stars,
China Crisis,
Roxy Music,
Graham Central Station,
Dark Day,
Stereo Dub,
KRS-One,
Supertramp,
Eyeless In Gaza,
The Slackers,
Barrington Levy,
Super Lover Cee & Casanova Rud,
Rhythm & Sound,
The Fire Engines,
The Zeros,
Nick Cave & The Bad Seeds,
The Alarm Clocks,
Jandek,
The Leaves,
James Chance & The Contortions,
Little Man,
Wasted Youth,
The Move,
Hoover,
Notorious Big And Bone Thugs,
Crispy Ambulance,
The Misunderstood,
Moby Grape,
Arab on Radar,
Skarface,
Roy Ayers,
the Swans,
Sunsets and Hearts,
Monks,
Yaz,
Icehouse,
The Smoke,
The Associates,
The Knickerbockers,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.