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 Cyprus and from Portland.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 David Axelrod to the disco kids.
I played it at Trash.
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 Selector Dub Narcotic. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
the Human League,
Khruangbin,
Easy Going,
Dark Day,
Barry Ungar,
Kool G Rap & DJ Polo,
The Victims,
Warsaw,
Howard Jones,
Hasil Adkins,
The Techniques,
Electric Prunes,
The Fugs,
Lyres,
Gong,
Wasted Youth,
Technova,
Lucky Dragons,
Ken Boothe,
Pulsallama,
Gabor Szabo,
Nation of Ulysses,
kango's stein massive,
Ronnie Foster,
The Associates,
Dual Sessions,
The Music Machine,
Dorothy Ashby,
The Dead C,
Donny Hathaway,
The Searchers,
Thee Headcoats,
Bill Wells,
Funky Four + One,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken,
The Cure,
Captain Beefheart & His Magic Band,
John Lydon,
Fad Gadget,
Sound Behaviour,
Fear,
Ultra Naté,
Stereo Dub,
Derrick May,
Icehouse,
Cameo,
Goldenarms,
Agitation Free,
Delon & Dalcan,
Amon Düül,
The Toasters,
Fifty Foot Hose,
Neil Young,
Delta 5,
Motorama,
The Gap Band,
Lebanon Hanover,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.