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 Liberia and from London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Madrid 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Beasts of Bourbon to the rap 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 Pantytec. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Liliput 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Sällskapet,
The Beau Brummels,
The Mojo Men,
Mars,
Black Sheep,
Cal Tjader,
Harry Pussy,
Bobby Hutcherson,
Sarah Menescal,
X-101,
Slave,
Bang On A Can,
Funky Four + One,
Lucky Dragons,
Pet Shop Boys,
The Saints,
Gastr Del Sol,
Porter Ricks,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band,
Sugar Minott,
The Litter,
Orchestral Manoeuvres in the Dark,
The Gories,
Graham Central Station,
Lungfish,
Interpol,
Kayak,
The Gladiators,
The Trojans,
Vainqueur,
Basic Channel,
Curtis Mayfield,
A Flock of Seagulls,
Jacob Miller,
Rahsaan Roland Kirk,
Popol Vuh,
Japan,
The New Christs,
Depeche Mode,
Al Stewart,
Terry Callier,
Boredoms,
John Foxx,
Ohio Players,
Kas Product,
Dennis Brown,
Intrusion,
Soul II Soul,
Shuggie Otis,
the Bar-Kays,
Hot Snakes,
Kerrie Biddell,
Dark Day,
Dr. Dre and Snoop Doggy Dog,
The Grass Roots,
Pantaleimon,
Peter & Gordon,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.