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 Mozambique and from Johannesburg.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Outsiders to the rap 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 Sly & The Family Stone. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal rap 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Alphaville,
The Men They Couldn't Hang,
Second Layer,
Royal Trux,
Bang on a Can All-Stars,
Boogie Down Productions,
Wire,
Porter Ricks,
X-101,
the Sonics,
the Normal,
Pharoah Sanders,
The Knickerbockers,
Joensuu 1685,
Kango’s Stein Massive,
Siouxsie and the Banshees,
Country Joe & The Fish,
Judy Mowatt,
The Royal Family And The Poor,
The Vogues,
Warsaw,
Rapeman,
Colin Newman,
The Gap Band,
U.S. Maple,
48th St. Collective,
B.T. Express,
Motorama,
Maleditus Sound,
Arthur Verocai,
Jesper Dahlback,
Stereo Dub,
Kerrie Biddell,
Eurythmics,
Monolake,
Shuggie Otis,
The Leaves,
Dave Gahan,
The Evens,
Byron Stingily,
Massinfluence,
Minutemen,
Lou Reed & Metallica,
Althea and Donna,
Agent Orange,
Outsiders,
The Raincoats,
Altered Images,
Bad Manners,
Girls At Our Best!,
Anthony Braxton,
DeepChord presents Echospace,
Kool G Rap & DJ Polo,
The Martian,
One Last Wish,
Man Parrish,
Lou Reed & John Cale,
Peter Gordon & Love of Life Orchestra,
Nils Olav,
Angry Samoans,
Dark Day,
Niagra,
Maurizio, Maurizio, Maurizio, Maurizio.
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.