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 Nauru and from Lille.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Lee Hazlewood 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 Warren Ellis. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Eric Copeland,
The Five Americans,
Lightning Bolt,
Moss Icon,
Rhythm & Sound,
Deadbeat,
Jesper Dahlback,
Organ,
Jerry Gold Smith,
Arthur Verocai,
Neu!,
The Neon Judgement,
Tim Buckley,
Gastr Del Sol,
the Fania All-Stars,
Panda Bear,
It's A Beautiful Day,
Index,
Toni Rubio,
Matthew Bourne,
Bob Dylan,
Adolescents,
Boogie Down Productions,
Aaron Thompson,
Excepter,
The Grass Roots,
David Bowie,
Al Stewart,
Soft Machine,
Fat Boys,
The Mummies,
The Remains,
Liaisons Dangereuses,
Kerrie Biddell,
Pantaleimon,
Livin' Joy,
FM Einheit,
The Jesus and Mary Chain,
Dr. Dre and Snoop Doggy Dog,
Ultra Naté,
Ash Ra Tempel,
The Walker Brothers,
Crispian St. Peters,
Nik Kershaw,
Lafayette Afro Rock Band,
Traffic Nightmare,
Lakeside,
The Moody Blues,
Marshall Jefferson,
Max Romeo,
Sister Nancy,
Bobby Womack,
Tears for Fears,
Crispy Ambulance,
Franke,
Deepchord,
The Gories,
The Names,
Dark Day,
The Searchers,
Kings Of Tomorrow,
Electric Light Orchestra,
The Busters, The Busters, The Busters, The Busters.
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.