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 Qatar and from Edmonton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Monks to the dance kids.
I played it at the Astoria.
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 One Last Wish. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Arab on Radar 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
T. Rex,
The Seeds,
Orchestral Manoeuvres in the Dark,
Echospace,
Model 500,
Mission of Burma,
Gastr Del Sol,
Manfred Mann's Earth Band,
Pagans,
Harry Pussy,
Ajijia Myrayebe,
Thee Headcoats,
The Human League,
Josef K,
Pylon,
OOIOO,
Dawn Penn,
Jawbox,
Patti Smith,
Amazonics,
Lebanon Hanover,
Royal Trux,
Sam Rivers,
One Last Wish,
The Gories,
Heaven 17,
Mars,
Sly & The Family Stone,
Q and Not U,
Gang Gang Dance,
Malaria!,
Michelle Simonal,
Crime,
Rosa Yemen,
John Foxx,
Simply Red,
It's A Beautiful Day,
Banda Bassotti,
Black Flag,
Unwound,
Bang On A Can,
Darondo,
Bootsy Collins,
Electric Light Orchestra,
The Real Kids,
N.O.R.E. Featuring Pharrell,
Teenage Jesus and the Jerks,
PIL,
Das Ding,
Roxy Music,
Wally Richardson,
a-ha,
Oblivians,
Maurizio,
Ornette Coleman,
Visage,
Peter & Gordon,
Vainqueur,
Fluxion,
Fat Boys,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.