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 Canada and from Spokane.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school London 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 Wire practice in a loft in Watford.
I was working on the chamberlin 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 Andrew Ashong & Theo Parrish to the funk kids.
I played it at the Roxy.
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 Young Rascals. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Symarip,
Joy Division,
Glenn Branca,
Amazonics,
Brass Construction,
the Fania All-Stars,
Hashim,
Excepter,
Agent Orange,
The Busters,
Andrew Ashong & Theo Parrish,
EPMD,
Spandau Ballet,
Anthony Braxton,
Rod Modell,
Piero Umiliani,
Schoolly D,
Eve St. Jones,
Dave Gahan,
Con Funk Shun,
Chris & Cosey,
10cc,
Jerry Gold Smith,
Bootsy Collins,
The Moody Blues,
The Pretty Things,
Stockholm Monsters,
Pole,
The Stooges,
David Bowie,
Country Joe & The Fish,
Barclay James Harvest,
Scrapy,
Mars,
Bill Near,
Young Marble Giants,
Yaz,
Scott Walker,
Roy Ayers Ubiquity,
The Tremeloes,
FM Einheit,
The Selecter,
Dual Sessions,
This Heat,
Urselle,
Electric Light Orchestra,
The Beau Brummels,
The Misunderstood,
Underground Resistance,
Crooked Eye,
Minny Pops,
The Evens,
the Bar-Kays,
Ornette Coleman,
Neil Young & Crazy Horse,
Mantronix,
Arab on Radar,
Soul II Soul,
Sällskapet,
Jeff Lynne,
Major Organ And The Adding Machine,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.