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 Kenya and from Jakarta.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Flipper to the jazz kids.
I played it at the 40 Watt.
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 Von Mondo. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal rap 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Underground Resistance,
Supertramp,
Robert Görl,
The Seeds,
Lonnie Liston Smith,
Nico,
Godley & Creme,
Spandau Ballet,
Funkadelic,
Alison Limerick,
Fort Wilson Riot,
Archie Shepp,
Peter Gordon & Love of Life Orchestra,
Echo & the Bunnymen,
Erykah Badu,
Brick,
Deakin,
Gang of Four,
Faraquet,
Tom Boy,
June Days,
Skaos,
Delta 5,
U.S. Maple,
Terrestrial Tones,
A Certain Ratio,
Gichy Dan,
Faust,
Scrapy,
The Five Americans,
The Leaves,
Nils Olav,
Jeru the Damaja,
Yazoo,
48th St. Collective,
Rapeman,
Grandmaster Flash,
One Last Wish,
Nick Cave & The Bad Seeds,
Jacques Brel,
The Invisible,
Bill Near,
The Angels of Light,
This Heat,
Gang Green,
Nas,
Pagans,
Oblivians,
Grauzone,
Byron Stingily,
Stetsasonic,
Angry Samoans,
Marmalade,
Peter and Kerry,
The Cowsills,
Cal Tjader,
Outsiders,
Sun Ra Arkestra,
Kauko Röyhkä ja Narttu,
The Durutti Column,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.