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 Zambia and from Johannesburg.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
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 oboe sounds with much patience.
I was there when Lou Reed 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 Rosa Yemen to the dance kids.
I played it at the Crocodile.
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 Notorious Big And Bone Thugs. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Sun City Girls,
Max Romeo,
Scrapy,
The Durutti Column,
Roxette,
The Modern Lovers,
Essential Logic,
Lungfish,
Soft Cell,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bush Tetras,
Porter Ricks,
Negative Approach,
Heavy D & The Boyz,
the Fania All-Stars,
MDC,
DeepChord presents Echospace,
Inner City,
Unwound,
Goldenarms,
Minny Pops,
The Remains,
Harmonia,
Eric Dolphy,
Khruangbin,
Oneida,
Cybotron,
The Divine Comedy,
Kerri Chandler,
Country Joe & The Fish,
Eve St. Jones,
Kango’s Stein Massive,
John Holt,
The Happenings,
De La Soul & Jungle Brothers,
Lee Hazlewood,
The Raincoats,
Juan Atkins,
H. Thieme,
Ice-T,
Faust,
Hardrive,
Robert Hood,
Stereo Dub,
Young Marble Giants,
Anthony Braxton,
Deepchord,
Public Image Ltd.,
Symarip,
Heaven 17,
Jerry's Kids,
The Skatalites,
Siglo XX,
Roxy Music,
The Human League,
Sex Pistols,
Depeche Mode,
June of 44,
Nik Kershaw,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.