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 Turkey and from Johannesburg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 Bluetip to the crunk kids.
I played it at the Roxy.
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 Knickerbockers. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Lonnie Liston Smith 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Siouxsie and the Banshees,
Audionom,
Barclay James Harvest,
The Moleskins,
London Community Gospel Choir,
Sexual Harrassment,
Hoover,
Mantronix,
Kerrie Biddell,
Harry Pussy,
Electric Light Orchestra,
Chris & Cosey,
Jimmy McGriff,
Johnny Clarke,
Eli Mardock,
Kenny Larkin,
The Associates,
The Evens,
Duran Duran,
Lee Hazlewood,
Sun Ra,
Brothers Johnson,
Scientists,
Aswad,
Gang Gang Dance,
Flamin' Groovies,
Livin' Joy,
Marine Girls,
The Neon Judgement,
Siglo XX,
Joe Smooth,
Dave Gahan,
Moby Grape,
Quadrant,
Monolake,
Fort Wilson Riot,
EPMD,
Kerri Chandler,
Amon Düül II,
Eurythmics,
Dark Day,
Black Pus,
Alice Coltrane,
Ultimate Spinach,
Deepchord,
Depeche Mode,
James White and The Blacks,
Darondo,
Danielle Patucci,
Roy Ayers Ubiquity,
Delon & Dalcan,
Scott Walker,
Arcadia,
Ultramagnetic MC's,
Ronan,
Nik Kershaw,
Red Lorry Yellow Lorry,
Khruangbin,
X-Ray Spex,
Gil Scott-Heron and Jamie xx,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.