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 Papua New Guinea and from Philadelphia.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
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 Feelies practice in a loft in Haledon.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Gang Gang Dance to the rock kids.
I played it at Cafe Wha.
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 Ultra Naté. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Nik Kershaw,
Black Pus,
K-Klass,
Stetsasonic,
Marcia Griffiths,
Niagra,
The Electric Prunes,
Ohio Players,
Scientists,
Lalann,
Danielle Patucci,
Ice-T,
Make Up,
The Durutti Column,
The Gories,
Gichy Dan,
Delon & Dalcan,
Maurizio,
Maleditus Sound,
Josef K,
Camouflage,
AZ,
Aural Exciters,
Index,
Clear Light,
Althea and Donna,
Glenn Branca,
Marshall Jefferson,
Freddie Wadling,
Interpol,
Big Daddy Kane,
Yellowson,
Jacques Brel,
Matthew Bourne,
Monks,
Slave,
Electric Prunes,
Peter and Kerry,
The Evens,
Glambeats Corp.,
Roger Hodgson,
Gian Franco Pienzio,
kango's stein massive,
B.T. Express,
Sexual Harrassment,
Can,
Japan,
Infiniti,
Kerri Chandler,
Skarface,
Delta 5,
Chris Corsano,
The Star Department,
Röyhkä ja Rättö ja Lehtisalo,
The J.B.'s,
Junior Murvin,
Banda Bassotti,
the Normal,
Amon Düül II,
Gang Gang Dance,
Tropical Tobacco,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.