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 Cameroon and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 LL Cool J to the electroclash kids.
I played it at the 40 Watt.
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 The Pop Group. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal jazz 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 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 Joe Smooth record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Martian,
Y Pants,
Throbbing Gristle,
Bang On A Can,
The Residents,
Blake Baxter,
The Invisible,
Soft Cell,
X-Ray Spex,
Major Organ And The Adding Machine,
KRS-One,
Crispy Ambulance,
Echo & the Bunnymen,
Pet Shop Boys,
Zapp,
Essential Logic,
Juan Atkins,
The Skatalites,
Ludus,
The Blackbyrds,
Stiv Bators,
Circle Jerks,
The Peanut Butter Conspiracy,
Scratch Acid,
Gastr Del Sol,
Slick Rick,
Sonic Youth,
The Pretty Things,
Tropical Tobacco,
Sunsets and Hearts,
Sexual Harrassment,
Jesper Dahlbäck,
John Coltrane,
Danielle Patucci,
Zero Boys,
Ronan,
The Neon Judgement,
the Fania All-Stars,
Grandmaster Flash,
Terror Squad Feat. Camron,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
Stetsasonic,
Agent Orange,
Chrome,
Bizarre Inc.,
Louis and Bebe Barron,
Lee Hazlewood,
The Cowsills,
Connie Case,
The Victims,
Gang Gang Dance,
The Velvet Underground,
The Last Poets,
Supertramp,
Andrew Ashong & Theo Parrish,
Reuben Wilson,
Joensuu 1685,
The Stooges,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.