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 Belarus and from Beijing.
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 1963 to 1975.
I'm losing my edge.
To all the kids in New York and Winnipeg.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Oblivians to the grunge kids.
I played it at the Troubador.
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 Index tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
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,
Johnny Clarke,
Yellowson,
Public Image Ltd.,
Sonny Sharrock,
In Retrospect,
Marine Girls,
John Coltrane,
Sandy B,
Agent Orange,
Cheater Slicks,
The Modern Lovers,
Theoretical Girls,
Trumans Water,
Lou Reed & Metallica,
Iggy Pop,
Vladislav Delay,
Bobby Byrd,
John Holt,
Vainqueur,
Big Daddy Kane,
Malaria!,
The Velvet Underground,
Tears for Fears,
The Tremeloes,
Beasts of Bourbon,
The Doors,
The Seeds,
Das Ding,
Andrew Hill,
Matthew Halsall,
Jeru the Damaja,
Bootsy Collins,
R.M.O.,
Television,
Camberwell Now,
The Fuzztones,
Easy Going,
Jacques Brel,
Sunsets and Hearts,
Ten City,
Nation of Ulysses,
Mark Hollis,
Sällskapet,
Michelle Simonal,
the Bar-Kays,
The Zeros,
Morten Harket,
Pulsallama,
Jerry's Kids,
Eric Dolphy,
John Foxx,
Eric Copeland,
Public Enemy,
Avey Tare & Kría Brekkan,
Roy Ayers,
Eli Mardock,
Los Fastidios,
The Grass Roots,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.