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 Guatemala and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Morten Harket to the grime 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 Todd Rundgren. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal crunk 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 arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques 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?
Fatback Band,
Wasted Youth,
Crash Course in Science,
The Mighty Diamonds,
Ajijia Myrayebe,
Stetsasonic,
Jeff Mills,
China Crisis,
Davy DMX,
The Invisible,
Metal Thangz,
Faust,
Urselle,
Gang of Four,
Kool Moe Dee,
Lou Reed & John Cale,
Anakelly,
Loose Ends,
Peter and Kerry,
Bang on a Can All-Stars,
The Monochrome Set,
The Barracudas,
Funky Four + One,
Sonny Sharrock,
Lee Hazlewood,
Connie Case,
Aural Exciters,
Skaos,
Dead Boys,
Deutsch Amerikanische Freundschaft,
Carl Craig,
Fela Kuti,
Nico,
Jandek,
The Remains,
MDC,
The Victims,
Dawn Penn,
Newcleus,
Oppenheimer Analysis,
Moebius,
Marmalade,
Y Pants,
Index,
Rosa Yemen,
Sexual Harrassment,
Funkadelic,
Eve St. Jones,
The Dead C,
The Detroit Cobras,
Moby Grape,
the Fania All-Stars,
Scientists,
Youth Brigade,
Eric Dolphy,
The Trojans,
Ludus,
Los Fastidios,
Susan Cadogan,
Louis and Bebe Barron,
Quando Quango,
Joy Division,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.