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 Czech Republic and from Edmonton.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Manchester 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron 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 Deadbeat to the funk kids.
I played it at the Troubador.
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 Freddie Wadling. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Amazonics 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ 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 synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
The Neon Judgement,
Amon Düül II,
Faraquet,
Supertramp,
Vladislav Delay,
Severed Heads,
Mr. Review,
Fifty Foot Hose,
Peter & Gordon,
Maurizio,
Funkadelic,
DNA,
X-Ray Spex,
Minny Pops,
Pussy Galore,
Tim Buckley,
La Düsseldorf,
Funky Four + One,
Dead Boys,
Kaleidoscope,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Leaves,
Half Japanese,
MC5,
The Moleskins,
Electric Prunes,
Camberwell Now,
Stereo Dub,
Fela Kuti,
Ultravox,
Thompson Twins,
Lebanon Hanover,
Symarip,
Tropical Tobacco,
Major Organ And The Adding Machine,
Dark Day,
Depeche Mode,
JFA,
Niagra,
Roxette,
Massinfluence,
Selector Dub Narcotic,
R.M.O.,
Silicon Teens,
Stockholm Monsters,
Sad Lovers and Giants,
Guru Guru,
Aloha Tigers,
K-Klass,
Michelle Simonal,
Brand Nubian,
Nico,
Panda Bear,
Sparks,
Interpol,
Masters at Work,
Pulsallama,
New Age Steppers,
Mo-Dettes,
Heaven 17,
Mantronix,
Dorothy Ashby,
Parry Music, Parry Music, Parry Music, Parry Music.
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.