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 Tunisia and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Bologna and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Gang of Four to the rap kids.
I played it at the Hacienda.
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 Rhythim Is Rhythim. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
DJ Style,
Kool Moe Dee,
Bobbi Humphrey,
The Sound,
Malaria!,
Country Teasers,
Funkadelic,
Davy DMX,
The American Breed,
Lizzy Mercier Descloux,
Bill Near,
Radiopuhelimet,
Minnie Riperton,
Pagans,
Infiniti,
Ohio Players,
Derrick May,
Brick,
Suicide,
Delta 5,
Major Organ And The Adding Machine,
Liliput,
Angry Samoans,
Hardrive,
Bang On A Can,
Dorothy Ashby,
The Motions,
Bad Manners,
Cluster,
Pantytec,
kango's stein massive,
Judy Mowatt,
Brass Construction,
The Vogues,
Harpers Bizarre,
Dave Gahan,
Jandek,
Scratch Acid,
R.M.O.,
Nation of Ulysses,
Sam Rivers,
The Stooges,
MDC,
David McCallum,
Susan Cadogan,
Sällskapet,
The Fire Engines,
Blancmange,
Lou Reed & John Cale,
The Music Machine,
Maleditus Sound,
Terror Squad Feat. Camron,
The Last Poets,
Bootsy Collins,
Public Image Ltd.,
The Searchers,
Darondo,
Camberwell Now,
Vainqueur,
Sight & Sound,
Kenny Larkin,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.