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 Iraq and from Lyon.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Eric B and Rakim to the disco kids.
I played it at CBGB's.
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 Monks. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Accadde A,
U.S. Maple,
Parry Music,
Soul II Soul,
Rosa Yemen,
Susan Cadogan,
the Sonics,
Hot Snakes,
The Zeros,
The Sonics,
Terrestrial Tones,
Joyce Sims,
Rhythim Is Rhythim,
Fear,
Frankie Knuckles,
Freddie Wadling,
June of 44,
Marc Almond,
Slick Rick,
The Fall,
Cluster,
AZ,
Soft Machine,
The Leaves,
Selector Dub Narcotic,
It's A Beautiful Day,
Scott Walker,
Dawn Penn,
Bush Tetras,
The Selecter,
The Evens,
Bobby Hutcherson,
Gary Puckett & The Union Gap,
Banda Bassotti,
New York Dolls,
Jimmy McGriff,
Minnie Riperton,
Red Lorry Yellow Lorry,
Donny Hathaway,
Jandek,
Shoche,
The Misunderstood,
Junior Murvin,
The Gladiators,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lou Christie,
The Cosmic Jokers,
Wolf Eyes,
Andrew Hill,
Heavy D & The Boyz,
Richard Hell and the Voidoids,
Kings Of Tomorrow,
The Gories,
Ash Ra Tempel,
The Jesus and Mary Chain,
Crime,
Joe Smooth,
FM Einheit,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.