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 Colombia and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Salvador 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 Human League practice in a loft in Sheffield.
I was working on the sitar 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 The Young Rascals to the crunk kids.
I played it at CBGB's.
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 Fat Boys. All the underground hits.
All Grandmaster Flash and the Furious Five 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
X-Ray Spex,
Wings,
Marc Romboy vs. Booka Shade,
X-102,
Brass Construction,
The Dead C,
The Remains,
The Toasters,
the Soft Cell,
Althea and Donna,
The Walker Brothers,
Liliput,
Dead Boys,
Barclay James Harvest,
Barbara Tucker,
Lee Hazlewood,
Jeff Mills,
Patti Smith,
The Monochrome Set,
Marine Girls,
In Retrospect,
Half Japanese,
Essential Logic,
Swell Maps,
Roxy Music,
Pere Ubu,
Moebius,
Grandmaster Flash and the Furious Five,
The Royal Family And The Poor,
Eddi Front,
The Saints,
Second Layer,
Icehouse,
Pole,
Bobby Sherman,
Connie Case,
T. Rex,
Minnie Riperton,
Lizzy Mercier Descloux,
Johnny Clarke,
Gabor Szabo,
Toni Rubio,
Ash Ra Tempel,
Theoretical Girls,
Ice-T,
10cc,
L. Decosne,
the Bar-Kays,
The J.B.'s,
Terrestrial Tones,
Depeche Mode,
Barry Ungar,
Drive Like Jehu,
Das Ding,
Ornette Coleman,
The Offenders,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.