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 Netherlands and from Madrid.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Manchester 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 Wire practice in a loft in Watford.
I was working on the rhodes 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 Sad Lovers and Giants to the grunge 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 Pharoah Sanders. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Lakeside,
Q65,
Yaz,
48th St. Collective,
Bush Tetras,
DeepChord presents Echospace,
The Invisible,
Pagans,
Kurtis Blow,
The Modern Lovers,
Amon Düül,
Vladislav Delay,
The Monochrome Set,
The Residents,
Stereo Dub,
L. Decosne,
Harpers Bizarre,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra Arkestra,
Japan,
Cheater Slicks,
Motorama,
Sam Rivers,
The Red Krayola,
Flipper,
Section 25,
Niagra,
Schoolly D,
Blossom Toes,
Tom Boy,
Gichy Dan,
John Lydon,
Soul Sonic Force,
Scan 7,
Joe Finger,
Joyce Sims,
the Swans,
Pet Shop Boys,
Beasts of Bourbon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Shoche,
The Count Five,
Tubeway Army,
Television Personalities,
Reuben Wilson,
Theoretical Girls,
KRS-One,
Jerry Gold Smith,
ABBA,
Ornette Coleman,
Can,
Rosa Yemen,
the Slits,
DNA,
The Electric Prunes,
Girls At Our Best!,
Spandau Ballet,
Radio Birdman,
Drive Like Jehu,
8 Eyed Spy,
Derrick May,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.