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 El Salvador and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar 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 Yellowson to the electroclash 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 La Düsseldorf. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Ultra Naté,
The Residents,
X-101,
The Grass Roots,
Siglo XX,
Danielle Patucci,
Little Man,
The Fire Engines,
Crooked Eye,
Chrome,
Stockholm Monsters,
Derrick Morgan,
Joensuu 1685,
Eddi Front,
Pole,
The Chocolate Watch Band,
X-Ray Spex,
Altered Images,
Sonic Youth,
Marmalade,
Swans,
Graham Central Station,
The Divine Comedy,
The Remains,
Tommy Roe,
Cameo,
James Chance & The Contortions,
Heaven 17,
Richard Hell and the Voidoids,
Nation of Ulysses,
Ken Boothe,
Matthew Bourne,
The Blues Magoos,
Brothers Johnson,
H. Thieme,
DJ Sneak,
Kerrie Biddell,
Colin Newman,
Vladislav Delay,
Sunsets and Hearts,
Beasts of Bourbon,
Agitation Free,
Connie Case,
Mo-Dettes,
Angels of Light & Akron/Family,
The Velvet Underground,
Bad Manners,
Gil Scott Heron,
Schoolly D,
Fat Boys,
The Standells,
Marcia Griffiths,
Nico,
The Associates,
Alice Coltrane,
The Dave Clark Five,
Underground Resistance,
Whodini,
DNA,
Terry Callier,
DJ Style, DJ Style, DJ Style, DJ Style.
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.