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 Russia and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Delhi 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 rhodes 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 Arthur Verocai to the jazz kids.
I played it at the 40 Watt.
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 Cybotron. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
ABBA,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Fort Wilson Riot,
Ralphi Rosario,
The New Christs,
Liliput,
Gang Gang Dance,
Lebanon Hanover,
Little Man,
Rahsaan Roland Kirk,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Monochrome Set,
Wire,
the Slits,
Marmalade,
T.S.O.L.,
The Slackers,
Public Image Ltd.,
Bauhaus,
Blancmange,
Arthur Verocai,
Grandmaster Flash,
Barbara Tucker,
Brothers Johnson,
Don Cherry,
Heavy D & The Boyz,
Skarface,
Main Source,
Thee Headcoats,
Cluster,
The West Coast Pop Art Experimental Band,
Brick,
Popol Vuh,
Procol Harum,
Flipper,
Whodini,
Lee Hazlewood,
Joe Finger,
Glambeats Corp.,
The Motions,
Ohio Players,
Tim Buckley,
Fela Kuti,
Echospace,
The Move,
Gabor Szabo,
The Red Krayola,
The Doors,
Brand Nubian,
Quantec,
Y Pants,
Faraquet,
Bootsy Collins,
Jesper Dahlbäck,
Althea and Donna,
Eve St. Jones,
Strawberry Alarm Clock,
Bobby Womack,
The Leaves,
Boredoms, Boredoms, Boredoms, Boredoms.
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.