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 Israel and from Delhi.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Toronto 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 Mary Jane Girls to the electroclash 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 Danielle Patucci. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Mummies,
The Stooges,
Gregory Isaacs,
The Young Rascals,
Gong,
Ponytail,
Bobby Womack,
Mission of Burma,
New Age Steppers,
Gichy Dan,
Amon Düül,
Index,
Anakelly,
Grandmaster Flash and the Furious Five,
Wire,
Hasil Adkins,
Pierre Henry,
Sister Nancy,
Ultimate Spinach,
Organ,
JFA,
Bobby Sherman,
Flipper,
Maleditus Sound,
Rosa Yemen,
Jeff Lynne,
Gil Scott Heron,
James Chance & The Contortions,
David McCallum,
Byron Stingily,
Graham Central Station,
R.M.O.,
Au Pairs,
Kaleidoscope,
Glambeats Corp.,
Gang Gang Dance,
The American Breed,
Sparks,
David Axelrod,
La Düsseldorf,
Eurythmics,
Procol Harum,
Gerry Rafferty,
Nas,
Siouxsie and the Banshees,
Barry Ungar,
Second Layer,
CMW,
Black Sheep,
John Foxx,
Lafayette Afro Rock Band,
Kurtis Blow,
Robert Hood,
Agent Orange,
Skaos,
Average White Band,
Masters at Work,
Delon & Dalcan,
Derrick May,
Yellowson,
Kenny Larkin,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.