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 Dominican Republic and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Spokane 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Sound Behaviour to the jazz kids.
I played it at the Troubador.
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 Mandrill. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Brick,
Anakelly,
Minnie Riperton,
Sun Ra,
Pere Ubu,
Metal Thangz,
Skarface,
The Birthday Party,
The Neon Judgement,
Bobby Womack,
Deutsch Amerikanische Freundschaft,
The Vogues,
Iggy Pop,
MDC,
John Cale,
Matthew Halsall,
Lee Hazlewood,
Negative Approach,
John Foxx,
Whodini,
DNA,
Pete Rock & C.L. Smooth,
Average White Band,
Wally Richardson,
The Fortunes,
Ohio Players,
Mad Mike,
Slave,
Gian Franco Pienzio,
Kauko Röyhkä ja Narttu,
Ajijia Myrayebe,
Fear,
The Mummies,
U.S. Maple,
Brothers Johnson,
Cheater Slicks,
Bang On A Can,
kango's stein massive,
The Remains,
Mandrill,
Inner City,
Gichy Dan,
The Techniques,
Bush Tetras,
Derrick Morgan,
Eddi Front,
Vainqueur,
Theoretical Girls,
the Sonics,
Henry Cow,
Hasil Adkins,
Lafayette Afro Rock Band,
The Cowsills,
Rowland S Howard / Lydia Lunch,
Black Moon,
Boz Scaggs,
Avey Tare & Kría Brekkan,
X-Ray Spex,
Curtis Mayfield,
Main Source,
Scion,
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.