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 Croatia 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 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Milan 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 clarinet sounds with much patience.
I was there when David Bowie 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 Smiths to the jazz kids.
I played it at Trash.
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 Byron Stingily. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 Little Man record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Ossler,
Stockholm Monsters,
Ronan,
Todd Terry,
Jacques Brel,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
The Buckinghams,
Bush Tetras,
Joe Smooth,
Interpol,
Ituana,
Amon Düül,
China Crisis,
Roxette,
Avey Tare,
Yellowson,
The Techniques,
Model 500,
The Beau Brummels,
Oppenheimer Analysis,
the Fania All-Stars,
Jerry's Kids,
Sun Ra Arkestra,
Captain Beefheart & His Magic Band,
Glambeats Corp.,
Dorothy Ashby,
Goldenarms,
Urselle,
Monks,
The Gladiators,
the Association,
Moebius,
Barry Ungar,
Dark Day,
Yusef Lateef,
Chrome,
Brand Nubian,
Shuggie Otis,
Neil Young & Crazy Horse,
X-102,
Johnny Osbourne,
The Saints,
Eve St. Jones,
Echo & the Bunnymen,
Isaac Hayes,
Marine Girls,
Joyce Sims,
Kango’s Stein Massive,
Index,
Organ,
Negative Approach,
Deepchord,
Rekid,
John Foxx,
Q65,
Magma,
Sexual Harrassment,
Ralphi Rosario,
Von Mondo,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.