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 Nicaragua and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Bremen 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 John Lydon to the dance 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 Sugar Minott. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Marcia Griffiths 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Bill Near,
the Sonics,
The Durutti Column,
Aswad,
Pet Shop Boys,
Tommy Roe,
The Wake,
the Association,
Girls At Our Best!,
Technova,
Siglo XX,
Joe Smooth,
Bob Dylan,
The Peanut Butter Conspiracy,
The Count Five,
Sällskapet,
Alice Coltrane,
Terry Callier,
Bang On A Can,
Skriet,
Q and Not U,
June of 44,
Minny Pops,
Sex Pistols,
Inner City,
Sight & Sound,
Pylon,
Gary Puckett & The Union Gap,
Goldenarms,
Derrick Morgan,
Kool Moe Dee,
Lebanon Hanover,
Radiohead,
Stetsasonic,
Faraquet,
Neu!,
Fat Boys,
Al Stewart,
Josef K,
The Toasters,
Robert Hood,
Kango’s Stein Massive,
Funkadelic,
The Standells,
Erykah Badu,
U.S. Maple,
Lalann,
Joyce Sims,
The Five Americans,
Y Pants,
Sound Behaviour,
Kayak,
Crash Course in Science,
Kurtis Blow,
Throbbing Gristle,
Eddi Front,
Brick,
Bluetip,
Joe Finger,
Accadde A,
Pantaleimon,
Excepter,
Monolake,
The Victims, The Victims, The Victims, The Victims.
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.