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 Monaco and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Dead Boys to the disco 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 Sad Lovers and Giants. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Intrusion 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 '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Joe Finger,
the Germs,
Tropical Tobacco,
Khruangbin,
Grey Daturas,
Dr. Dre and Snoop Doggy Dog,
Nik Kershaw,
Stetsasonic,
Sound Behaviour,
Scrapy,
Oblivians,
Harpers Bizarre,
Smog,
The Vogues,
Fad Gadget,
The Invisible,
The Angels of Light,
Quantec,
Kerrie Biddell,
Hasil Adkins,
Fat Boys,
Johnny Osbourne,
the Bar-Kays,
Adolescents,
the Association,
Intrusion,
Rekid,
Radiopuhelimet,
Public Image Ltd.,
The Monochrome Set,
Juan Atkins,
Urselle,
ABBA,
Sunsets and Hearts,
Flash Fearless,
The Remains,
Loose Ends,
Grauzone,
Qualms,
Be Bop Deluxe,
Minor Threat,
Laurel Aitken,
The J.B.'s,
Deepchord,
Matthew Halsall,
Big Daddy Kane,
Oppenheimer Analysis,
Neu!,
Audionom,
Todd Terry,
Jacob Miller,
Reuben Wilson,
Howard Jones,
Robert Wyatt,
Pantytec,
DJ Sneak,
Simply Red,
The Five Americans,
Zapp,
The Real Kids,
T. Rex,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.