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 Dominican Republic and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1971.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Edmonton 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Cabaret Voltaire to the jazz kids.
I played it at Trash.
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 Country Joe & The Fish. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Cluster,
Mark Hollis,
Echo & the Bunnymen,
Camron Feat. Jay Z And Juelz,
Mr. Review,
The Wake,
This Heat,
Oneida,
Robert Görl,
Laurel Aitken,
Deakin,
Black Flag,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Neon Judgement,
PIL,
The Smoke,
Barry Ungar,
Eyeless In Gaza,
the Swans,
Bluetip,
Bauhaus,
Crispian St. Peters,
Agent Orange,
Dead Boys,
Pulsallama,
Yusef Lateef,
Prince Buster,
Dorothy Ashby,
DJ Sneak,
Rod Modell,
Alice Coltrane,
The Fire Engines,
The Divine Comedy,
Danielle Patucci,
Harpers Bizarre,
Bob Dylan,
Can,
Bang On A Can,
Davy DMX,
Guru Guru,
Avey Tare's Slasher Flicks,
Pere Ubu,
The Smiths,
Country Joe & The Fish,
The Human League,
Essential Logic,
Bill Wells,
Al Stewart,
New York Dolls,
Derrick Morgan,
Carl Craig,
Newcleus,
June Days,
Lakeside,
Mantronix,
Soft Cell,
Be Bop Deluxe,
Accadde A,
Ultimate Spinach,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.