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 Ghana and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 The Fugs to the jazz kids.
I played it at the Hacienda.
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 Soul II Soul. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a sitar 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 a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Letta Mbulu,
Lungfish,
Masters at Work,
Das Ding,
Rowland S Howard / Lydia Lunch,
Kerri Chandler,
Wolf Eyes,
Yellowson,
Sun City Girls,
Bill Wells,
Banda Bassotti,
OOIOO,
Darondo,
The Royal Family And The Poor,
Roxette,
The Toasters,
Livin' Joy,
The Cowsills,
The Names,
The Skatalites,
Eli Mardock,
Zero Boys,
ABC,
The Beau Brummels,
Sällskapet,
Sarah Menescal,
Groovy Waters,
Agent Orange,
London Community Gospel Choir,
Nik Kershaw,
Brothers Johnson,
Bobby Womack,
Pet Shop Boys,
Vladislav Delay,
Dead Boys,
Lucky Dragons,
Marcia Griffiths,
Sixth Finger,
Negative Approach,
The Moody Blues,
Sugar Minott,
Saccharine Trust,
Roy Ayers Ubiquity,
The Durutti Column,
Royal Trux,
Shuggie Otis,
Eyeless In Gaza,
Gary Puckett & The Union Gap,
Dawn Penn,
U.S. Maple,
Easy Going,
Joensuu 1685,
The Fugs,
The Red Krayola,
Gil Scott Heron,
Cluster,
Symarip,
Kayak,
Intrusion,
Subhumans,
The Remains,
Wally Richardson,
X-101, X-101, X-101, X-101.
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.