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 Albania and from Stockholm.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Tehran 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 Wire practice in a loft in Watford.
I was working on the sitar 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 Jacques Brel to the rock 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 Scion. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
The Zeros,
The Toasters,
Bill Near,
Matthew Bourne,
Suburban Knight,
Dual Sessions,
The Offenders,
Teenage Jesus and the Jerks,
Rod Modell,
The Birthday Party,
Amon Düül,
Röyhkä ja Rättö ja Lehtisalo,
The Neon Judgement,
The Happenings,
Amazonics,
Susan Cadogan,
Aaron Thompson,
James Chance & The Contortions,
Sunsets and Hearts,
Marmalade,
Gil Scott Heron,
Silicon Teens,
The Tremeloes,
Thompson Twins,
Lyres,
the Human League,
Guru Guru,
Rekid,
Yazoo,
Easy Going,
Leonard Cohen,
Echo & the Bunnymen,
Radiohead,
Dead Boys,
The Real Kids,
Arthur Verocai,
Kerrie Biddell,
Popol Vuh,
Curtis Mayfield,
Banda Bassotti,
Organ,
The Martian,
Bizarre Inc.,
Arab on Radar,
Suicide,
The Fire Engines,
Kenny Larkin,
Simply Red,
Faraquet,
Barry Ungar,
The Mummies,
Joe Finger,
Gang Starr,
Brick,
The Gladiators,
Swell Maps,
Terry Callier,
Panda Bear,
Letta Mbulu,
Circle Jerks,
Pulsallama,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.