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 Mauritania and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
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 Arab on Radar to the disco 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 Pere Ubu. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick 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?
Siglo XX,
Brand Nubian,
One Last Wish,
Sister Nancy,
Orchestral Manoeuvres in the Dark,
Jesper Dahlback,
The Music Machine,
Super Lover Cee & Casanova Rud,
Quantec,
Kerrie Biddell,
Bauhaus,
Oppenheimer Analysis,
Crispian St. Peters,
The Names,
Dual Sessions,
The Vogues,
Guru Guru,
Man Parrish,
The J.B.'s,
The Remains,
Vladislav Delay,
Juan Atkins,
cv313,
Warsaw,
The Stooges,
Gary Puckett & The Union Gap,
Eden Ahbez,
Matthew Halsall,
DNA,
Grandmaster Flash and the Furious Five,
Brothers Johnson,
Fat Boys,
Scientists,
John Coltrane,
Swans,
T. Rex,
Fugazi,
Lou Reed & John Cale,
Ultra Naté,
Robert Hood,
UT,
Skriet,
X-102,
Nick Fraelich,
Ice-T,
Marmalade,
Donald Byrd,
Pole,
Cluster,
Trumans Water,
Shoche,
Tommy Roe,
The Monks,
Frankie Knuckles,
Heaven 17,
Blake Baxter,
Loose Ends,
Aaron Thompson,
Maurizio,
The Neon Judgement,
Faust,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.