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 Hungary and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1970.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Harry Pussy to the rock 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 Bobby Hutcherson. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
The Monochrome Set,
The Mighty Diamonds,
Rotary Connection,
Andrew Ashong & Theo Parrish,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eli Mardock,
Fatback Band,
Monolake,
Fad Gadget,
The Slackers,
The Index,
48th St. Collective,
Aloha Tigers,
Eden Ahbez,
Metal Thangz,
Mad Mike,
James Chance & The Contortions,
ABC,
Avey Tare's Slasher Flicks,
Quadrant,
The Detroit Cobras,
Arcadia,
Nick Fraelich,
Con Funk Shun,
World's Most,
Lou Reed,
Wighnomy Brothers & Robag Wruhme,
the Human League,
Pole,
Peter and Kerry,
John Foxx,
Brass Construction,
Parry Music,
Crash Course in Science,
A Certain Ratio,
The Divine Comedy,
The Victims,
Nils Olav,
Roy Ayers Ubiquity,
Nick Cave & The Bad Seeds,
The Knickerbockers,
Fluxion,
MC5,
Howard Jones,
Pierre Henry,
Bootsy's Rubber Band,
Magazine,
The Seeds,
The Human League,
Mantronix,
Crispian St. Peters,
Junior Murvin,
The Moleskins,
Louis and Bebe Barron,
Harpers Bizarre,
Organ,
Intrusion,
It's A Beautiful Day,
The Beau Brummels,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.