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 Tanzania and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Edmonton and Jakarta.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 The Pop Group to the rap kids.
I played it at CBGB's.
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 Alice Coltrane. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Dual Sessions,
Bill Near,
Godley & Creme,
Vainqueur,
Y Pants,
Circle Jerks,
Bang on a Can All-Stars,
L. Decosne,
June Days,
Lafayette Afro Rock Band,
The Star Department,
The Move,
Andrew Ashong & Theo Parrish,
Gregory Isaacs,
Excepter,
Stiv Bators,
Easy Going,
Robert Görl,
Goldenarms,
The Music Machine,
Roxette,
Tommy Roe,
the Swans,
Heavy D & The Boyz,
The Cramps,
Vaughan Mason & Crew,
Scrapy,
Aloha Tigers,
The Alarm Clocks,
Visage,
Spoonie Gee,
Accadde A,
Grauzone,
Japan,
Soft Cell,
Hardrive,
Ponytail,
David McCallum,
Lebanon Hanover,
Eric B and Rakim,
Clear Light,
Thee Headcoats,
UT,
Little Man,
Sex Pistols,
FM Einheit,
Susan Cadogan,
the Soft Cell,
Piero Umiliani,
Minnie Riperton,
Rakim,
Stockholm Monsters,
Pole,
Alton Ellis,
Monks,
T.S.O.L.,
Masters at Work,
The Associates,
Zapp,
Saccharine Trust,
Cluster,
Rosa Yemen,
Technova, Technova, Technova, Technova.
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.