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 Ethiopia and from Taipei.
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 1967 to 1970.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Houston 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 The Moody Blues to the grunge 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 New York Dolls. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s 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 The Gories record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Bronski Beat,
The Stooges,
Mark Hollis,
Gerry Rafferty,
Alison Limerick,
8 Eyed Spy,
Quantec,
Camberwell Now,
Tim Buckley,
The Martian,
B.T. Express,
K-Klass,
A Flock of Seagulls,
The Standells,
Lower 48,
The Velvet Underground,
Aaron Thompson,
Infiniti,
Stereo Dub,
Joyce Sims,
Delta 5,
Kevin Saunderson,
Bobby Womack,
Mission of Burma,
John Coltrane,
Kenny Larkin,
Rahsaan Roland Kirk,
Barbara Tucker,
Oppenheimer Analysis,
U.S. Maple,
The Gun Club,
Lightning Bolt,
Stiv Bators,
Neil Young,
Derrick Morgan,
Gregory Isaacs,
The Index,
Jesper Dahlback,
The Angels of Light,
Crispy Ambulance,
LL Cool J,
The Kinks,
Dorothy Ashby,
Peter and Kerry,
Heaven 17,
The Star Department,
Slave,
Strawberry Alarm Clock,
The Mighty Diamonds,
Sonic Youth,
The Peanut Butter Conspiracy,
Bill Near,
The Skatalites,
Barrington Levy,
Be Bop Deluxe,
The West Coast Pop Art Experimental Band,
Porter Ricks,
China Crisis,
Erasure,
Lindisfarne,
Ornette Coleman,
Minor Threat,
Newcleus, Newcleus, Newcleus, Newcleus.
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.