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 Argentina and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1974.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school London 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 chamberlin 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 Reuben Wilson 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 Bobby Hutcherson. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Theoretical Girls,
Sound Behaviour,
Steve Hackett,
Cameo,
Inner City,
Bobby Sherman,
Michelle Simonal,
Altered Images,
Prince Buster,
EPMD,
Nik Kershaw,
Amon Düül,
Peter & Gordon,
UT,
Bootsy's Rubber Band,
Deadbeat,
Sugar Minott,
Be Bop Deluxe,
Masters at Work,
Tommy Roe,
Kurtis Blow,
Pulsallama,
Roy Ayers,
Lalann,
Louis and Bebe Barron,
The Monochrome Set,
Khruangbin,
Arthur Verocai,
Gil Scott-Heron and Jamie xx,
Los Fastidios,
Selector Dub Narcotic,
Rites of Spring,
The Slits,
Laurel Aitken,
Shuggie Otis,
Moss Icon,
A Certain Ratio,
Patti Smith,
Neil Young,
Blossom Toes,
Lou Reed,
Bootsy Collins,
The Angels of Light,
Ultimate Spinach,
Outsiders,
The Flesh Eaters,
Simply Red,
Joe Finger,
The Trojans,
Black Sheep,
H. Thieme,
The Shadows of Knight,
The Names,
Young Marble Giants,
Mandrill,
Ash Ra Tempel,
Das Ding,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.