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 Greece and from Bremen.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
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 Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Throbbing Gristle to the grime kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Arab on Radar 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
The Sisters of Mercy,
F. McDonald,
Pet Shop Boys,
Quadrant,
Excepter,
Zapp,
Alison Limerick,
The Moleskins,
Visionaries,LMNO, T- Love & Iriscience,
Peter and Kerry,
Red Lorry Yellow Lorry,
Orchestral Manoeuvres in the Dark,
Boogie Down Productions,
Morten Harket,
Deadbeat,
OOIOO,
Tom Boy,
Alton Ellis,
The Slits,
China Crisis,
Scientists,
Scratch Acid,
Louis and Bebe Barron,
The Beau Brummels,
The Leaves,
Pete Rock & C.L. Smooth,
The Kinks,
Kurtis Blow,
Idris Muhammad,
The Electric Prunes,
Max Romeo,
A Flock of Seagulls,
Yaz,
Ohio Players,
The Moody Blues,
Groovy Waters,
Bush Tetras,
Eric B and Rakim,
MC5,
The United States of America,
The Detroit Cobras,
Qualms,
Byron Stingily,
Trumans Water,
Maurizio,
Kayak,
Barrington Levy,
Suburban Knight,
Sällskapet,
Johnny Clarke,
The Fortunes,
Royal Trux,
Rod Modell,
Warren Ellis,
Pharoah Sanders,
Fatback Band,
Eric Copeland,
Todd Terry,
Black Bananas,
Faraquet,
The Busters,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.