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 Tajikistan and from Woodstock.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lagos and Manchester.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Hardrive to the dance 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 Stiv Bators. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Peter Gordon & Love of Life Orchestra,
Tropical Tobacco,
The United States of America,
The Electric Prunes,
Con Funk Shun,
Vladislav Delay,
The Five Americans,
Funky Four + One,
Barrington Levy,
Alice Coltrane,
Electric Prunes,
Motorama,
Sällskapet,
Curtis Mayfield,
Kerri Chandler,
Main Source,
Henry Cow,
The Vogues,
The Invisible,
Fela Kuti,
Bobby Byrd,
The Cure,
Carl Craig,
Hasil Adkins,
cv313,
Public Enemy,
Avey Tare's Slasher Flicks,
Johnny Clarke,
The Blackbyrds,
Captain Beefheart & His Magic Band,
Cheater Slicks,
James Chance & The Contortions,
The Detroit Cobras,
Brand Nubian,
Kenny Larkin,
H. Thieme,
Sun Ra Arkestra,
Soul Sonic Force,
Oppenheimer Analysis,
Faust,
Crispy Ambulance,
Babytalk,
Todd Rundgren,
La Düsseldorf,
The New Christs,
Aaron Thompson,
Heavy D & The Boyz,
Kevin Saunderson,
AZ,
The Monochrome Set,
Average White Band,
Royal Trux,
Maurizio,
Susan Cadogan,
Joe Finger,
The Slackers,
Jerry Gold Smith,
Amon Düül II,
The West Coast Pop Art Experimental Band,
Vainqueur,
Pole,
Desert Stars,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.