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 Russia and from Lagos.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
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 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 Nile Rodgers 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 David Bowie to the grunge kids.
I played it at the Roxy.
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 Normal. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Bronski Beat,
Severed Heads,
The Red Krayola,
Graham Central Station,
Niagra,
Skarface,
48th St. Collective,
Big Daddy Kane,
The Modern Lovers,
Matthew Bourne,
The Smiths,
Max Romeo,
The Shadows of Knight,
DeepChord presents Echospace,
Lungfish,
Suicide,
Kayak,
Absolute Body Control,
Black Moon,
Camberwell Now,
Urselle,
KRS-One,
Pere Ubu,
Ice-T,
The Monks,
Grandmaster Flash,
The Selecter,
Intrusion,
the Normal,
Darondo,
Rhythim Is Rhythim,
The Victims,
Underground Resistance,
Bauhaus,
Tomorrow,
Pharoah Sanders,
The Fortunes,
Gian Franco Pienzio,
Audionom,
Sex Pistols,
The Golliwogs,
Gang Starr,
A Flock of Seagulls,
Boogie Down Productions,
Eric Dolphy,
Idris Muhammad,
Altered Images,
Nas,
The Alarm Clocks,
Nik Kershaw,
Dave Gahan,
Bobby Hutcherson,
The Grass Roots,
Leonard Cohen,
a-ha,
Freddie Wadling,
Flipper,
Liaisons Dangereuses,
Kings Of Tomorrow,
Blancmange,
Beasts of Bourbon,
Ten City, Ten City, Ten City, Ten City.
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.