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 Colombia and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Winnipeg 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Amon Düül to the dance 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 Massinfluence. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
Eli Mardock,
Minnie Riperton,
The Happenings,
Peter Gordon & Love of Life Orchestra,
Pagans,
Scratch Acid,
FM Einheit,
Andrew Ashong & Theo Parrish,
Siglo XX,
Frankie Knuckles,
Janne Schatter,
Pussy Galore,
Rakim,
Roxy Music,
Altered Images,
Stiv Bators,
Lower 48,
Hasil Adkins,
Junior Murvin,
Angry Samoans,
Fugazi,
Fela Kuti,
Electric Light Orchestra,
Thompson Twins,
David Axelrod,
Harry Pussy,
Little Man,
Roxette,
Girls At Our Best!,
Trumans Water,
Yusef Lateef,
Wings,
Isaac Hayes,
The Saints,
Bang On A Can,
Toni Rubio,
Tubeway Army,
The Cure,
Major Organ And The Adding Machine,
Organ,
Selector Dub Narcotic,
Althea and Donna,
The Invisible,
Quadrant,
Rapeman,
The Sound,
Moby Grape,
Notorious Big And Bone Thugs,
Mad Mike,
Nico,
Joyce Sims,
Wire,
Country Joe & The Fish,
Crash Course in Science,
Cameo,
Alison Limerick,
Bobby Womack,
Kerri Chandler,
Japan, Japan, Japan, Japan.
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.