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 Honduras and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Andrew Hill to the rock kids.
I played it at the Spitz.
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 Ultravox. All the underground hits.
All Maleditus Sound 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum 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 synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Robert Görl,
Rites of Spring,
Justin Hinds & The Dominoes,
Tom Boy,
Suicide,
Kango’s Stein Massive,
Arthur Verocai,
Maurizio,
Grauzone,
Bill Wells,
Selector Dub Narcotic,
The Pretty Things,
the Swans,
Michelle Simonal,
Todd Terry,
Strawberry Alarm Clock,
Bad Manners,
The Standells,
the Slits,
Kaleidoscope,
Vladislav Delay,
Marmalade,
the Association,
The Wake,
Oblivians,
Technova,
Banda Bassotti,
Fugazi,
Alice Coltrane,
Connie Case,
Sunsets and Hearts,
Boogie Down Productions,
Amon Düül,
Radio Birdman,
Clear Light,
Mission of Burma,
Derrick May,
Goldenarms,
Ralphi Rosario,
Easy Going,
Peter & Gordon,
Louis and Bebe Barron,
Gichy Dan,
Eve St. Jones,
Pierre Henry,
Lower 48,
Echo & the Bunnymen,
The Buckinghams,
Eddi Front,
The Human League,
Glambeats Corp.,
Outsiders,
Stiv Bators,
The Seeds,
FM Einheit,
Model 500,
This Heat,
Siglo XX,
Camouflage, Camouflage, Camouflage, Camouflage.
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.