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 Vietnam and from Cairo.
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 Portland and Toronto.
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 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 Accadde A to the crunk kids.
I played it at Cafe Wha.
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 Jeff Mills. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel 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?
Laurel Aitken,
Susan Cadogan,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
Arab on Radar,
F. McDonald,
Joey Negro,
Ossler,
Aaron Thompson,
A Flock of Seagulls,
Archie Shepp,
Ten City,
Skriet,
Amon Düül II,
kango's stein massive,
Avey Tare's Slasher Flicks,
8 Eyed Spy,
Steve Hackett,
Todd Terry,
Angels of Light & Akron/Family,
Fifty Foot Hose,
Mandrill,
Altered Images,
Model 500,
Ken Boothe,
Das Ding,
Ludus,
The Skatalites,
The Monochrome Set,
Metal Thangz,
Byron Stingily,
The Misunderstood,
The Associates,
The Neon Judgement,
Cabaret Voltaire,
Al Stewart,
The Angels of Light,
Gil Scott-Heron and Jamie xx,
Tom Boy,
In Retrospect,
K-Klass,
June Days,
Fort Wilson Riot,
Hashim,
Tubeway Army,
Second Layer,
Mo-Dettes,
Japan,
The Slits,
Chris & Cosey,
Sun Ra Arkestra,
The Vogues,
The Doobie Brothers,
Terror Squad Feat. Camron,
U.S. Maple,
One Last Wish,
Nick Fraelich,
Warsaw,
Scratch Acid,
Suicide,
Alphaville,
James White and The Blacks,
Aswad, Aswad, Aswad, Aswad.
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.