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 Croatia and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1971.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Spokane 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Flipper to the dance kids.
I played it at Cafe Wha.
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 Marcia Griffiths. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a MDC 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?
Marshall Jefferson,
Boz Scaggs,
Morten Harket,
Byron Stingily,
Robert Görl,
Sixth Finger,
Brass Construction,
Marine Girls,
The Velvet Underground,
Can,
Alton Ellis,
Avey Tare's Slasher Flicks,
Sun Ra Arkestra,
Manfred Mann's Earth Band,
The Cosmic Jokers,
Soul II Soul,
Bobby Sherman,
Terrestrial Tones,
Popol Vuh,
ABC,
Eric B and Rakim,
Arab on Radar,
London Community Gospel Choir,
E-Dancer,
Angry Samoans,
The Smiths,
The Misunderstood,
Magazine,
Minutemen,
Essential Logic,
Graham Central Station,
the Swans,
Sad Lovers and Giants,
Barry Ungar,
Cluster,
Radiopuhelimet,
Siouxsie and the Banshees,
La Düsseldorf,
This Heat,
Cabaret Voltaire,
Circle Jerks,
Goldenarms,
Bill Near,
Ronnie Foster,
The Chocolate Watch Band,
Tim Buckley,
The Kinks,
Red Lorry Yellow Lorry,
Selector Dub Narcotic,
Deakin,
Throbbing Gristle,
Swans,
The Alarm Clocks,
Quando Quango,
Nik Kershaw,
Reagan Youth,
Public Enemy,
The Gap Band,
Barclay James Harvest,
Procol Harum,
Bush Tetras,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.