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 Slovakia and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare 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 Byron Stingily to the grime 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 Absolute Body Control. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a 808 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?
The Names,
Soft Cell,
Minny Pops,
Cheater Slicks,
Hardrive,
Saccharine Trust,
Grandmaster Flash,
Hashim,
Gian Franco Pienzio,
Girls At Our Best!,
The Fortunes,
The Sonics,
Darondo,
Bobby Sherman,
Lungfish,
Black Flag,
Fifty Foot Hose,
Josef K,
Zero Boys,
Major Organ And The Adding Machine,
Rhythim Is Rhythim,
Marcia Griffiths,
Depeche Mode,
The Busters,
June of 44,
The Trojans,
Soulsonic Force,
Gong,
The Offenders,
Spoonie Gee,
the Swans,
Be Bop Deluxe,
Television Personalities,
The Red Krayola,
Cybotron,
Spandau Ballet,
D'Angelo,
Shoche,
Anthony Braxton,
Juan Atkins,
Justin Hinds & The Dominoes,
Dead Boys,
Gang Starr,
Symarip,
Nick Fraelich,
John Foxx,
London Community Gospel Choir,
Alphaville,
Thompson Twins,
Graham Central Station,
Flash Fearless,
Ice-T,
The Toasters,
Mandrill,
The Men They Couldn't Hang,
Lou Reed & Metallica,
Brand Nubian,
Mission of Burma,
Nas,
Roger Hodgson,
Kango’s Stein Massive,
F. McDonald,
Yaz, Yaz, Yaz, Yaz.
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.