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 Yemen and from Portland.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Average White Band to the disco kids.
I played it at the Troubador.
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 Amon Düül II. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
X-Ray Spex,
Bluetip,
Anakelly,
Faraquet,
Joe Smooth,
Ultravox,
Metal Thangz,
Scrapy,
Massinfluence,
Agitation Free,
Faust,
Connie Case,
Chrome,
The Toasters,
Little Man,
The Leaves,
Cabaret Voltaire,
Radiopuhelimet,
Quantec,
Nation of Ulysses,
Dual Sessions,
Eyeless In Gaza,
Deutsch Amerikanische Freundschaft,
John Holt,
World's Most,
Roy Ayers,
Röyhkä ja Rättö ja Lehtisalo,
De La Soul & Jungle Brothers,
Fat Boys,
Shuggie Otis,
EPMD,
Ronan,
Black Flag,
Prince Buster,
Notorious Big And Bone Thugs,
Godley & Creme,
Skarface,
Aural Exciters,
David Bowie,
Das Ding,
Marshall Jefferson,
Harry Pussy,
Rites of Spring,
The Seeds,
H. Thieme,
Avey Tare & Kría Brekkan,
Mr. Review,
Graham Central Station,
Desert Stars,
Absolute Body Control,
Lou Reed & John Cale,
Marvin Gaye,
Josef K,
Dave Gahan,
Marine Girls,
the Slits,
Sight & Sound,
Inner City,
Spoonie Gee,
Black Moon,
The Shadows of Knight,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.