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 France and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Bologna 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 Pere Ubu 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 Invisible. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
June of 44,
D'Angelo,
Marmalade,
Funkadelic,
The Cosmic Jokers,
Morten Harket,
Pussy Galore,
Deutsch Amerikanische Freundschaft,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
Notorious Big And Bone Thugs,
Stetsasonic,
Wings,
Michelle Simonal,
Eden Ahbez,
The New Christs,
Maurizio,
Lee Hazlewood,
Andrew Hill,
Radiohead,
Slave,
Toni Rubio,
The Knickerbockers,
Byron Stingily,
a-ha,
John Cale,
The Fall,
Andrew Ashong & Theo Parrish,
The Last Poets,
Vladislav Delay,
Hoover,
Newcleus,
Visage,
The Fire Engines,
Avey Tare & Kría Brekkan,
Kevin Saunderson,
Scott Walker,
Letta Mbulu,
Eddi Front,
Oppenheimer Analysis,
The Young Rascals,
Popol Vuh,
Stockholm Monsters,
Eurythmics,
DNA,
Little Man,
Glenn Branca,
Nation of Ulysses,
Cal Tjader,
Quando Quango,
The Associates,
The Fuzztones,
Ultra Naté,
Bobby Hutcherson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magazine,
The Jesus and Mary Chain,
Mars,
Maleditus Sound,
The Residents,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.