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 Eritrea and from Jakarta.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Paris 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 organ 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 Bill Wells to the disco 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 New Age Steppers. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Rufus Thomas,
Barbara Tucker,
Girls At Our Best!,
R.M.O.,
Franke,
Roy Ayers Ubiquity,
Howard Jones,
Albert Ayler,
Unrelated Segments,
Eric Copeland,
Marc Romboy vs. Booka Shade,
The Sonics,
Sad Lovers and Giants,
Heaven 17,
The Walker Brothers,
Man Parrish,
The Mummies,
Ronnie Foster,
Avey Tare,
The Offenders,
Robert Hood,
Electric Prunes,
Cameo,
Country Teasers,
Monolake,
Don Cherry,
Vladislav Delay,
Gary Puckett & The Union Gap,
Gil Scott-Heron and Jamie xx,
Smog,
Stetsasonic,
Sticky Fingaz feat. Raekwon,
Max Romeo,
The Remains,
X-101,
Deakin,
The Fire Engines,
Nation of Ulysses,
Matthew Bourne,
H. Thieme,
Fela Kuti,
Jawbox,
Idris Muhammad,
Grandmaster Flash and the Furious Five,
Brand Nubian,
Angry Samoans,
Bobby Hutcherson,
Second Layer,
Urselle,
Lou Christie,
Q65,
Gong,
Bobby Byrd,
F. McDonald,
Altered Images,
The Fugs,
Althea and Donna,
World's Most,
Eyeless In Gaza,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.