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 United States and from Stockholm.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 chamberlin 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 The Count Five 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 Babytalk. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
The Flesh Eaters,
Shuggie Otis,
Ajijia Myrayebe,
Ronan,
Flash Fearless,
Grey Daturas,
Crooked Eye,
Ten City,
Skriet,
The Motions,
Sun Ra Arkestra,
Josef K,
Stetsasonic,
48th St. Collective,
Chrome,
Rosa Yemen,
Banda Bassotti,
Anakelly,
Wasted Youth,
Rhythm & Sound,
kango's stein massive,
Toni Rubio,
Masters at Work,
10cc,
T.S.O.L.,
Roger Hodgson,
Ken Boothe,
Connie Case,
The Remains,
Electric Prunes,
Nils Olav,
Sad Lovers and Giants,
Gil Scott Heron,
The Gun Club,
Bootsy Collins,
Letta Mbulu,
The Kinks,
Jerry's Kids,
Babytalk,
Oppenheimer Analysis,
Andrew Hill,
Joey Negro,
Jacques Brel,
Los Fastidios,
Negative Approach,
The Moody Blues,
Grandmaster Flash and the Furious Five,
Eden Ahbez,
Minny Pops,
Bush Tetras,
Erasure,
Ohio Players,
Soul II Soul,
Monks,
Sun City Girls,
Moebius,
Soul Sonic Force,
June Days, June Days, June Days, June Days.
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.