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 San Marino and from Hong Kong.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Vainqueur to the grime 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 Stiv Bators. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a chamberlin 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Freddie Wadling,
Gang Starr,
Ultramagnetic MC's,
The Last Poets,
Soulsonic Force,
London Community Gospel Choir,
Gil Scott-Heron & Brian Jackson,
Fugazi,
Electric Prunes,
David McCallum,
Cal Tjader,
Hoover,
Pierre Henry,
The Men They Couldn't Hang,
Groovy Waters,
Audionom,
Bill Near,
Jeff Mills,
Jesper Dahlback,
Robert Görl,
Skarface,
MC5,
Kango’s Stein Massive,
Amon Düül,
A Flock of Seagulls,
Radiopuhelimet,
Throbbing Gristle,
Glambeats Corp.,
Ludus,
Bobby Sherman,
Janne Schatter,
Rotary Connection,
The Walker Brothers,
Cecil Taylor,
The West Coast Pop Art Experimental Band,
Gastr Del Sol,
Matthew Bourne,
Orchestral Manoeuvres in the Dark,
Supertramp,
The Sonics,
Alphaville,
Kayak,
Gerry Rafferty,
Jawbox,
Laurel Aitken,
New Age Steppers,
The Toasters,
Johnny Clarke,
The Music Machine,
Arthur Verocai,
Lyres,
Rod Modell,
Chrome,
Easy Going,
Rapeman,
Dave Gahan,
Terry Callier,
Harpers Bizarre,
Nik Kershaw,
Hashim,
Sarah Menescal,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.