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 the UAE and from Salvador.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 Harmonia to the electroclash kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Boogie Down Productions,
Fifty Foot Hose,
cv313,
Bobby Byrd,
Jesper Dahlbäck,
Minutemen,
The Associates,
Bootsy's Rubber Band,
Delon & Dalcan,
Average White Band,
Quantec,
Kurtis Blow,
London Community Gospel Choir,
Stockholm Monsters,
The Smiths,
Kerrie Biddell,
Mandrill,
Marshall Jefferson,
Bobby Sherman,
The Pretty Things,
Dawn Penn,
The Techniques,
The Index,
Andrew Hill,
Ossler,
Larry & the Blue Notes,
Can,
The New Christs,
The American Breed,
Banda Bassotti,
June of 44,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABC,
Prince Buster,
X-101,
Organ,
Gang Gang Dance,
Morten Harket,
James White and The Blacks,
Colin Newman,
Siglo XX,
Lalo Schifrin,
David McCallum,
Kango’s Stein Massive,
Major Organ And The Adding Machine,
Lakeside,
New York Dolls,
Livin' Joy,
Neu!,
Roy Ayers Ubiquity,
Con Funk Shun,
The Dirtbombs,
Scott Walker,
Babytalk,
Rakim,
Smog,
Jawbox,
Crispy Ambulance,
Subhumans,
The Happenings,
Lyres, Lyres, Lyres, Lyres.
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.