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 Bahamas and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Bologna 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Lucky Dragons to the techno kids.
I played it at Cafe Wha.
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 Althea and Donna. All the underground hits.
All Camron Feat. Jay Z And Juelz tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Electric Prunes,
Gabor Szabo,
Sparks,
David Axelrod,
Alice Coltrane,
Grandmaster Flash,
Drexciya,
Sexual Harrassment,
Heaven 17,
Connie Case,
Public Enemy,
Aural Exciters,
The Durutti Column,
Rites of Spring,
Excepter,
Roy Ayers Ubiquity,
Traffic Nightmare,
New York Dolls,
Delta 5,
The Pretty Things,
Alton Ellis,
Jimmy McGriff,
In Retrospect,
Sugar Minott,
Flamin' Groovies,
Supertramp,
The Five Americans,
Radio Birdman,
Tomorrow,
Scientists,
Matthew Bourne,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Holt,
The United States of America,
The Grass Roots,
Nils Olav,
The American Breed,
Bootsy Collins,
U.S. Maple,
Kings Of Tomorrow,
Lafayette Afro Rock Band,
Bobby Hutcherson,
EPMD,
Yaz,
Khruangbin,
Albert Ayler,
New Age Steppers,
Mandrill,
The Dave Clark Five,
Blancmange,
ABC,
The Misunderstood,
The Buckinghams,
The Standells,
Country Teasers,
Bobbi Humphrey,
Jandek,
a-ha,
Eric B and Rakim,
Eurythmics,
Terror Squad Feat. Camron,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.