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 Afghanistan and from Houston.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when Lou Reed 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 Teenage Jesus and the Jerks to the rock 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 Jacob Miller. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal disco 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Joey Negro,
K-Klass,
Wasted Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Peter Gordon & Love of Life Orchestra,
Alice Coltrane,
Soft Cell,
Bronski Beat,
Gil Scott Heron,
Roxette,
The West Coast Pop Art Experimental Band,
It's A Beautiful Day,
Television Personalities,
Wighnomy Brothers & Robag Wruhme,
Flash Fearless,
Basic Channel,
Ronan,
The Wake,
Pantaleimon,
Unwound,
the Association,
Pagans,
The Blackbyrds,
The Buckinghams,
Sex Pistols,
Magazine,
The Pop Group,
Dave Gahan,
Tubeway Army,
The Men They Couldn't Hang,
Sly & The Family Stone,
Avey Tare's Slasher Flicks,
Slave,
Grauzone,
The Happenings,
Lou Christie,
Dual Sessions,
Cabaret Voltaire,
Brick,
In Retrospect,
The American Breed,
Fifty Foot Hose,
Crooked Eye,
Dorothy Ashby,
Maleditus Sound,
Tim Buckley,
Fluxion,
Juan Atkins,
Little Man,
The Standells,
the Slits,
Ronnie Foster,
Marc Romboy vs. Booka Shade,
Cecil Taylor,
Al Stewart,
The Monks,
Liaisons Dangereuses,
Ponytail,
Black Pus,
Royal Trux,
Bobby Womack,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.