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 Syria and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Accra 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 Buzzcocks practice in a loft in Bolton.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 American Breed to the crunk kids.
I played it at Cafe Wha.
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 Model 500. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal rap 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 a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Can,
Rites of Spring,
Anakelly,
Sam Rivers,
Nation of Ulysses,
Q and Not U,
Roxy Music,
The Count Five,
Essential Logic,
Delta 5,
Pharaoh Sanders and the Fire Engines,
The Litter,
Masters at Work,
Sex Pistols,
Au Pairs,
Joy Division,
Smog,
The Misunderstood,
Bill Wells,
Andrew Hill,
Ten City,
The Monochrome Set,
48th St. Collective,
Jimmy McGriff,
Peter and Kerry,
The Peanut Butter Conspiracy,
Minutemen,
Deutsch Amerikanische Freundschaft,
Pagans,
Talk Talk,
Ponytail,
Lindisfarne,
Pierre Henry,
Susan Cadogan,
the Association,
Bobby Womack,
Blake Baxter,
Wighnomy Brothers & Robag Wruhme,
Charles Mingus,
Marc Almond,
Mandrill,
Mad Mike,
Arthur Verocai,
Maleditus Sound,
Gang Starr,
Glenn Branca,
Kango’s Stein Massive,
Rakim,
Section 25,
Eurythmics,
Richard Hell and the Voidoids,
The Wake,
Basic Channel,
Gabor Szabo,
Pole,
Jawbox,
Japan,
The Trojans,
Henry Cow,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.