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 Mauritius and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Deakin to the funk kids.
I played it at the Hacienda.
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 Swans. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Gichy Dan,
A Certain Ratio,
Thinking Fellers Union Local 282,
the Soft Cell,
Sun City Girls,
Kool Moe Dee,
Sexual Harrassment,
Liaisons Dangereuses,
Scratch Acid,
Outsiders,
Aural Exciters,
Johnny Clarke,
Unwound,
Nico,
The Happenings,
Toni Rubio,
The Sisters of Mercy,
Harpers Bizarre,
Neil Young & Crazy Horse,
Siglo XX,
Peter and Kerry,
The Birthday Party,
Lyres,
Oneida,
Symarip,
Mo-Dettes,
Pere Ubu,
Archie Shepp,
Roxy Music,
Fear,
Scrapy,
Joe Smooth,
Moss Icon,
Ice-T,
Soft Machine,
Stiv Bators,
Bobby Womack,
Newcleus,
Kool G Rap & DJ Polo,
Frankie Knuckles,
Brass Construction,
Mars,
London Community Gospel Choir,
Patti Smith,
Gerry Rafferty,
Eddi Front,
Kauko Röyhkä ja Narttu,
Siouxsie and the Banshees,
Q and Not U,
Visage,
Maleditus Sound,
Masters at Work,
Soft Cell,
Man Parrish,
Barrington Levy,
Aloha Tigers,
Arab on Radar,
Ultravox,
Con Funk Shun,
Dennis Brown,
Cybotron,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.