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 Andorra and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Flash Fearless to the dance 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 Moebius. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Loose Ends,
Peter & Gordon,
Sunsets and Hearts,
Gian Franco Pienzio,
Boogie Down Productions,
U.S. Maple,
Joyce Sims,
Max Romeo,
The Mighty Diamonds,
Easy Going,
Yazoo,
Gabor Szabo,
Sight & Sound,
The Modern Lovers,
Desert Stars,
Fugazi,
Rites of Spring,
Aaron Thompson,
The Chocolate Watch Band,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson,
Junior Murvin,
Jeff Lynne,
Johnny Osbourne,
Saccharine Trust,
Terrestrial Tones,
Barrington Levy,
The Buckinghams,
Lou Christie,
The Fuzztones,
Roxette,
The Sisters of Mercy,
World's Most,
Main Source,
the Germs,
Tropical Tobacco,
Piero Umiliani,
The Fugs,
The American Breed,
DJ Sneak,
The Associates,
Lower 48,
Rufus Thomas,
The Move,
Eden Ahbez,
Oneida,
Moby Grape,
Funky Four + One,
Marc Romboy vs. Booka Shade,
Darondo,
Mandrill,
Gang Gang Dance,
Lindisfarne,
The Misunderstood,
This Heat,
Buzzcocks,
Be Bop Deluxe,
Skaos,
The Monks,
Richard Hell and the Voidoids,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.