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 Estonia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Shanghai 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 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 Hardrive to the rap kids.
I played it at the Hacienda.
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 Lou Reed & Metallica. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Slick Rick 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 '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
the Normal,
Toni Rubio,
Angry Samoans,
Lebanon Hanover,
Radio Birdman,
Howard Jones,
D'Angelo,
Marc Romboy vs. Booka Shade,
The Star Department,
Flash Fearless,
Thompson Twins,
Selector Dub Narcotic,
Zapp,
Mandrill,
Bang on a Can All-Stars,
The Victims,
The Sonics,
Skarface,
Deakin,
Unrelated Segments,
It's A Beautiful Day,
Minor Threat,
Robert Görl,
Kayak,
The Divine Comedy,
Black Moon,
Visionaries,LMNO, T- Love & Iriscience,
Wings,
Wally Richardson,
Soft Machine,
Ossler,
Robert Hood,
The Red Krayola,
Con Funk Shun,
Country Teasers,
DeepChord presents Echospace,
London Community Gospel Choir,
Matthew Bourne,
Wire,
Carl Craig,
10cc,
Roger Hodgson,
Metal Thangz,
DJ Style,
ABBA,
Eric B and Rakim,
Sight & Sound,
The Standells,
The Music Machine,
These Immortal Souls,
Gil Scott-Heron & Brian Jackson,
Fifty Foot Hose,
Franke,
World's Most,
Scion,
The Alarm Clocks,
Gregory Isaacs,
Bizarre Inc.,
Eli Mardock,
Teenage Jesus and the Jerks,
The Slackers,
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.