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 Swaziland and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Portland 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 Soft Boys practice in a loft in Cambridge.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Sam Rivers to the jazz 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 Bobby Hutcherson. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
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,
Lizzy Mercier Descloux,
The Gladiators,
Rod Modell,
The Litter,
Agent Orange,
Q and Not U,
Lyres,
Sly & The Family Stone,
One Last Wish,
Lou Reed & Metallica,
The Smiths,
Rapeman,
Arthur Verocai,
Jeff Lynne,
Ituana,
The Dead C,
UT,
the Fania All-Stars,
Gil Scott-Heron and Jamie xx,
The Golliwogs,
Hashim,
Swans,
Fort Wilson Riot,
Rhythim Is Rhythim,
Curtis Mayfield,
Metal Thangz,
Gang Green,
Thee Headcoats,
Bizarre Inc.,
Wighnomy Brothers & Robag Wruhme,
Altered Images,
Joe Finger,
Lalo Schifrin,
The Angels of Light,
Gil Scott Heron,
The Move,
Prince Buster,
David McCallum,
Tears for Fears,
Jesper Dahlback,
Porter Ricks,
The Mighty Diamonds,
Joe Smooth,
James Chance & The Contortions,
The Moleskins,
New Order,
Ultramagnetic MC's,
Jerry's Kids,
Brick,
Gabor Szabo,
Cabaret Voltaire,
The Cowsills,
Procol Harum,
Black Pus,
Deadbeat,
Frankie Knuckles,
The Dirtbombs,
Mars,
China Crisis,
Eric Copeland,
JFA,
Lou Christie,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.