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 Kuwait and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Wings to the electroclash 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 The Smiths. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Reuben Wilson,
Kevin Saunderson,
Hoover,
Lebanon Hanover,
Andrew Hill,
Gregory Isaacs,
The United States of America,
Brass Construction,
The Cosmic Jokers,
Sun City Girls,
The Evens,
X-102,
Eden Ahbez,
The Gap Band,
The Fall,
Barry Ungar,
Pere Ubu,
Alice Coltrane,
F. McDonald,
Marcia Griffiths,
James White and The Blacks,
Roxy Music,
Ralphi Rosario,
The Velvet Underground,
Sun Ra,
Matthew Halsall,
The Doors,
Neil Young,
Black Bananas,
Gang Gang Dance,
Rekid,
Alphaville,
The Doobie Brothers,
the Human League,
A Certain Ratio,
Aural Exciters,
Guru Guru,
Ken Boothe,
Rod Modell,
Masters at Work,
La Düsseldorf,
D'Angelo,
Chris Corsano,
Wolf Eyes,
The Skatalites,
Black Pus,
The Cramps,
The Searchers,
the Fania All-Stars,
Danielle Patucci,
Soft Cell,
The Wake,
Sunsets and Hearts,
The Tremeloes,
Camberwell Now,
Janne Schatter,
James Chance & The Contortions,
Jesper Dahlbäck,
Ten City,
Donny Hathaway,
Eyeless In Gaza,
Roger Hodgson,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.