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 Laos and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Mexico City 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 Second Layer practice in a loft in South London.
I was working on the guitar 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 Robert Hood to the funk kids.
I played it at the 40 Watt.
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 Jimmy McGriff. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Aural Exciters 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin 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 rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Blues Magoos,
Colin Newman,
Tomorrow,
Joe Smooth,
Max Romeo,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
X-102,
Jeff Mills,
Yusef Lateef,
The Moleskins,
Masters at Work,
Fela Kuti,
Derrick May,
The Angels of Light,
LL Cool J,
The Walker Brothers,
Glenn Branca,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Echospace,
Mad Mike,
Bobby Sherman,
Loose Ends,
Ken Boothe,
Lizzy Mercier Descloux,
Grandmaster Flash and the Furious Five,
The Dave Clark Five,
Major Organ And The Adding Machine,
Section 25,
Bobby Womack,
Isaac Hayes,
The Standells,
Don Cherry,
Rhythim Is Rhythim,
Visage,
A Flock of Seagulls,
Red Lorry Yellow Lorry,
Roy Ayers Ubiquity,
Be Bop Deluxe,
Laurel Aitken,
Gabor Szabo,
The Men They Couldn't Hang,
F. McDonald,
Toni Rubio,
Röyhkä ja Rättö ja Lehtisalo,
Aural Exciters,
Nick Fraelich,
The Doobie Brothers,
Tom Boy,
Ornette Coleman,
Fugazi,
Agitation Free,
Peter & Gordon,
Das Ding,
Joe Finger,
The Slackers,
Scott Walker,
Vladislav Delay,
Ronnie Foster,
The Associates, The Associates, The Associates, The Associates.
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.