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 Japan and from Glasgow.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Marine Girls to the electroclash kids.
I played it at Trash.
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 Glambeats Corp.. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Wire 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
In Retrospect,
Boogie Down Productions,
Richard Hell and the Voidoids,
Rod Modell,
Pole,
La Düsseldorf,
Eyeless In Gaza,
Procol Harum,
Danielle Patucci,
Intrusion,
Chris & Cosey,
MC5,
Louis and Bebe Barron,
Swans,
Gil Scott Heron,
the Slits,
Black Moon,
Tubeway Army,
Young Marble Giants,
Robert Görl,
Stereo Dub,
Kayak,
Johnny Osbourne,
Grey Daturas,
Camouflage,
Chrome,
Dead Boys,
Wings,
Ten City,
The Zeros,
Black Pus,
Roger Hodgson,
Morten Harket,
Blossom Toes,
Arcadia,
Darondo,
The Durutti Column,
Reagan Youth,
Japan,
Aloha Tigers,
Black Flag,
The Tremeloes,
Rhythim Is Rhythim,
Nils Olav,
Eurythmics,
David Bowie,
The Fall,
Boz Scaggs,
Dorothy Ashby,
Brand Nubian,
Massinfluence,
The Knickerbockers,
Oppenheimer Analysis,
Soft Cell,
Gang of Four,
Big Daddy Kane,
Bluetip,
The Searchers,
Silicon Teens,
JFA,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.