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 Mongolia and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Columbus.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 The Slits to the dance kids.
I played it at the Hacienda.
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 The Buckinghams. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Sugar Minott 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Boz Scaggs,
Pylon,
Saccharine Trust,
Black Pus,
Larry & the Blue Notes,
Kevin Saunderson,
Cybotron,
Eric Copeland,
Mad Mike,
Newcleus,
Au Pairs,
Desert Stars,
Flamin' Groovies,
London Community Gospel Choir,
A Certain Ratio,
Ornette Coleman,
Eyeless In Gaza,
Kaleidoscope,
Young Marble Giants,
Barbara Tucker,
Ponytail,
Rapeman,
Cheater Slicks,
Sad Lovers and Giants,
Super Lover Cee & Casanova Rud,
Public Enemy,
Panda Bear,
Quantec,
Deakin,
Gil Scott Heron,
Eddi Front,
Youth Brigade,
Index,
ABC,
Aswad,
John Foxx,
Ten City,
John Coltrane,
Skarface,
Organ,
Tears for Fears,
The Modern Lovers,
the Normal,
Joey Negro,
The Selecter,
David McCallum,
The Litter,
Terry Callier,
Graham Central Station,
Big Daddy Kane,
Lyres,
Dawn Penn,
Joyce Sims,
The Shadows of Knight,
Deadbeat,
The Sound,
Kas Product,
Soul Sonic Force,
The Golliwogs,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.