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 Korea South and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Calgary and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Sonic Youth to the grime kids.
I played it at the Astoria.
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 Alarm Clocks. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Boredoms,
Quantec,
Model 500,
Ornette Coleman,
Arcadia,
Barclay James Harvest,
Darondo,
Mars,
Rahsaan Roland Kirk,
Sad Lovers and Giants,
Donald Byrd,
The Black Dice,
Boz Scaggs,
Rotary Connection,
La Düsseldorf,
Sex Pistols,
Deadbeat,
Al Stewart,
Spandau Ballet,
Wings,
Art Ensemble Of Chicago,
Sexual Harrassment,
Moss Icon,
The Doors,
Dorothy Ashby,
Oneida,
Archie Shepp,
Charles Mingus,
Negative Approach,
Richard Hell and the Voidoids,
Anthony Braxton,
Hoover,
the Bar-Kays,
Stereo Dub,
The Star Department,
The Slackers,
Drexciya,
Ossler,
Zero Boys,
Throbbing Gristle,
Faust,
Vainqueur,
Leonard Cohen,
The Detroit Cobras,
The Move,
Pharoah Sanders,
Pagans,
Ronan,
Crispy Ambulance,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
DJ Sneak,
The Sonics,
Tom Boy,
The Chocolate Watch Band,
Grey Daturas,
Piero Umiliani,
Marine Girls,
Kurtis Blow,
the Fania All-Stars,
Faraquet,
The Blackbyrds,
Sarah Menescal,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.