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 Serbia and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Prince Buster to the funk kids.
I played it at the 40 Watt.
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 The Techniques. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
This Heat,
The Alarm Clocks,
Basic Channel,
The Victims,
The Electric Prunes,
Angry Samoans,
The Martian,
Thee Headcoats,
The Human League,
ABBA,
The Dirtbombs,
Soft Machine,
Gil Scott Heron,
Minny Pops,
Vladislav Delay,
Cabaret Voltaire,
Siouxsie and the Banshees,
Erykah Badu,
Clear Light,
ABC,
The Selecter,
Bobby Womack,
Mark Hollis,
Gregory Isaacs,
The Angels of Light,
Rites of Spring,
The Raincoats,
Nick Cave & The Bad Seeds,
Idris Muhammad,
Deakin,
Sparks,
Lower 48,
Stockholm Monsters,
Hardrive,
The Durutti Column,
Cecil Taylor,
Sly & The Family Stone,
The Evens,
Donny Hathaway,
Crooked Eye,
Derrick May,
Andrew Ashong & Theo Parrish,
Manfred Mann's Earth Band,
Urselle,
Loose Ends,
Anakelly,
Motorama,
Sonny Sharrock,
The Names,
The Zeros,
The Divine Comedy,
Lyres,
Gary Puckett & The Union Gap,
Tres Demented,
AZ,
Tommy Roe,
Warsaw,
The Barracudas,
Mad Mike,
Junior Murvin,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.