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 Suriname and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Madrid 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Chrome to the grime 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 Ornette Coleman. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland 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?
Derrick Morgan,
Banda Bassotti,
Man Eating Sloth,
Sonny Sharrock,
Wighnomy Brothers & Robag Wruhme,
John Coltrane,
K-Klass,
U.S. Maple,
Sound Behaviour,
De La Soul & Jungle Brothers,
Hasil Adkins,
Niagra,
John Lydon,
Bizarre Inc.,
KRS-One,
Lightning Bolt,
Kayak,
The Associates,
Deutsch Amerikanische Freundschaft,
Ituana,
Lakeside,
Ponytail,
Connie Case,
The Slits,
Brand Nubian,
Piero Umiliani,
CMW,
Toni Rubio,
Isaac Hayes,
Sad Lovers and Giants,
Deadbeat,
H. Thieme,
Severed Heads,
Gerry Rafferty,
Black Moon,
Todd Terry,
Brass Construction,
Symarip,
Bluetip,
Index,
The Five Americans,
The Saints,
Oblivians,
Scan 7,
The Litter,
The Buckinghams,
JFA,
The United States of America,
Fifty Foot Hose,
Bang on a Can All-Stars,
Danielle Patucci,
Joyce Sims,
Duran Duran,
Blancmange,
Jeru the Damaja,
David Bowie,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
Kenny Larkin,
Rapeman, Rapeman, Rapeman, Rapeman.
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.