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 Kyrgyzstan and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
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 Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 Nico to the jazz kids.
I played it at the Astoria.
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 Technova. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Crispy Ambulance,
Audionom,
Lou Reed,
8 Eyed Spy,
Hasil Adkins,
The Leaves,
Morten Harket,
Loose Ends,
Hashim,
Thee Headcoats,
Marmalade,
Traffic Nightmare,
Fifty Foot Hose,
FM Einheit,
Arab on Radar,
Quantec,
Public Image Ltd.,
Ultimate Spinach,
Junior Murvin,
Electric Light Orchestra,
Pagans,
The Invisible,
Youth Brigade,
Groovy Waters,
Eden Ahbez,
Roxy Music,
Essential Logic,
Girls At Our Best!,
Franke,
Deadbeat,
Rufus Thomas,
Bobby Byrd,
Stetsasonic,
Bronski Beat,
Darondo,
Gil Scott Heron,
Amon Düül,
Maleditus Sound,
Quadrant,
the Normal,
Qualms,
Livin' Joy,
Con Funk Shun,
The Zeros,
Monks,
U.S. Maple,
Grandmaster Flash and the Furious Five,
Aaron Thompson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lalann,
John Coltrane,
Q and Not U,
The Doobie Brothers,
Tropical Tobacco,
Scott Walker,
Accadde A,
Easy Going,
Smog,
Marvin Gaye,
Buzzcocks,
Echo & the Bunnymen,
Inner City, Inner City, Inner City, Inner City.
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.