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 Liechtenstein and from London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and London.
I'm losing my edge to the art-school Accra 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 harpsichord 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 Connie Case to the techno kids.
I played it at the Spitz.
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 Dead Boys. All the underground hits.
All Desert Stars 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Harry Pussy,
Sun Ra,
The Motions,
Lucky Dragons,
Dave Gahan,
Gregory Isaacs,
the Human League,
The Moody Blues,
Duran Duran,
Organ,
Crime,
The Victims,
Kool Moe Dee,
Oneida,
Bush Tetras,
Television,
Kas Product,
the Sonics,
Wire,
The Residents,
Drive Like Jehu,
Infiniti,
The Slackers,
The Cowsills,
The Saints,
Ice-T,
The Remains,
Saccharine Trust,
Susan Cadogan,
Neil Young & Crazy Horse,
Peter Gordon & Love of Life Orchestra,
Von Mondo,
Junior Murvin,
Jawbox,
The Electric Prunes,
Fat Boys,
The Kinks,
Marcia Griffiths,
The New Christs,
The Golliwogs,
L. Decosne,
MC5,
The Associates,
Dark Day,
Roger Hodgson,
Maurizio,
Essential Logic,
Black Flag,
The Happenings,
Lizzy Mercier Descloux,
Neu!,
The Music Machine,
One Last Wish,
Angels of Light & Akron/Family,
Louis and Bebe Barron,
48th St. Collective,
Chrome,
Roy Ayers Ubiquity,
Deadbeat,
Sugar Minott,
Sandy B,
Warren Ellis,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.