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 Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
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 Feelies practice in a loft in Haledon.
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 Peter & Gordon to the rap kids.
I played it at the Crocodile.
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 Roy Ayers Ubiquity. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every DJ Style 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Matthew Halsall,
Justin Hinds & The Dominoes,
Connie Case,
Fifty Foot Hose,
The Star Department,
Adolescents,
Amon Düül,
The Associates,
The Fortunes,
Boogie Down Productions,
Frankie Knuckles,
Eric Dolphy,
Mr. Review,
The Human League,
Deepchord,
Freddie Wadling,
Harpers Bizarre,
Bizarre Inc.,
Pulsallama,
Sugar Minott,
Goldenarms,
Joensuu 1685,
Fatback Band,
Young Marble Giants,
The Music Machine,
Lalo Schifrin,
Hoover,
Judy Mowatt,
Rufus Thomas,
The Names,
Black Sheep,
the Bar-Kays,
Pagans,
Visage,
Pylon,
The Sonics,
Soft Machine,
Skaos,
B.T. Express,
Ten City,
Section 25,
Tom Boy,
Blancmange,
Tropical Tobacco,
Gerry Rafferty,
Infiniti,
Technova,
Pantytec,
The Fugs,
The New Christs,
The Gories,
James White and The Blacks,
Thee Headcoats,
Lee Hazlewood,
Average White Band,
The Wake,
Nils Olav,
Derrick Morgan,
X-101, X-101, X-101, X-101.
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.