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 Azerbaijan and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 The Skatalites to the techno 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 Marshall Jefferson. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Albert Ayler 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 '80s.
I hear you're buying an arpeggiator and a guitar 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 guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Fear,
Orchestral Manoeuvres in the Dark,
Half Japanese,
The Motions,
Johnny Clarke,
R.M.O.,
Pylon,
Eric B and Rakim,
The Grass Roots,
Technova,
Desert Stars,
The Divine Comedy,
F. McDonald,
cv313,
the Slits,
Goldenarms,
Dark Day,
Erasure,
The American Breed,
Urselle,
Ten City,
The Peanut Butter Conspiracy,
The Monochrome Set,
The Misunderstood,
Model 500,
Minor Threat,
Gang Green,
Pagans,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
Maleditus Sound,
Arthur Verocai,
Babytalk,
Nick Fraelich,
Sixth Finger,
Crispian St. Peters,
The Invisible,
Gang Starr,
Pantaleimon,
Girls At Our Best!,
Con Funk Shun,
Brass Construction,
Scott Walker,
The Searchers,
Dual Sessions,
Louis and Bebe Barron,
Donny Hathaway,
the Human League,
H. Thieme,
Kool Moe Dee,
Dorothy Ashby,
Magma,
New York Dolls,
Motorama,
Roxy Music,
Pere Ubu,
Soft Cell,
Throbbing Gristle,
Terrestrial Tones,
The Trojans,
Mission of Burma,
Make Up,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.