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 Montenegro and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Copenhagen 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Sex Pistols to the grime kids.
I played it at CBGB's.
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 Vogues. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Fugazi 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Urselle,
The Mummies,
Minny Pops,
Accadde A,
Albert Ayler,
T.S.O.L.,
Theoretical Girls,
The Doors,
Blake Baxter,
Aaron Thompson,
X-102,
The Alarm Clocks,
Electric Prunes,
Anthony Braxton,
Can,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Names,
Todd Terry,
Bizarre Inc.,
Isaac Hayes,
Quadrant,
UT,
Jerry Gold Smith,
Main Source,
Public Image Ltd.,
Nico,
Tim Buckley,
L. Decosne,
Masters at Work,
The Slackers,
Niagra,
Sly & The Family Stone,
The Beau Brummels,
Parry Music,
The Busters,
Suburban Knight,
Terry Callier,
Deutsch Amerikanische Freundschaft,
The Monochrome Set,
E-Dancer,
It's A Beautiful Day,
Brick,
R.M.O.,
A Flock of Seagulls,
Gang of Four,
The Residents,
Dennis Brown,
Make Up,
Eyeless In Gaza,
Newcleus,
Wire,
Swans,
Sun City Girls,
Notorious BIG live in Amsterdam,
Blossom Toes,
Charles Mingus,
Thompson Twins,
Pagans, Pagans, Pagans, Pagans.
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.