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 Paraguay and from Winnipeg.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Dorothy Ashby to the punk 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 ABBA. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Rod Modell,
Glambeats Corp.,
Duran Duran,
Deakin,
the Human League,
Harry Pussy,
the Association,
The Divine Comedy,
The Detroit Cobras,
Liliput,
Lebanon Hanover,
Drexciya,
Ultramagnetic MC's,
Eric Dolphy,
Minor Threat,
Marcia Griffiths,
Buzzcocks,
Bauhaus,
Barry Ungar,
The Wake,
Slick Rick,
Pete Rock & C.L. Smooth,
Hardrive,
Anthony Braxton,
Kaleidoscope,
Lou Reed,
Andrew Hill,
Jesper Dahlback,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Germs,
Motorama,
Albert Ayler,
Henry Cow,
Manfred Mann's Earth Band,
Television Personalities,
The Pop Group,
Electric Prunes,
Lonnie Liston Smith,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rakim,
Frankie Knuckles,
Scott Walker,
Camberwell Now,
Funky Four + One,
New York Dolls,
Dual Sessions,
The Saints,
Little Man,
MDC,
Gichy Dan,
The United States of America,
The West Coast Pop Art Experimental Band,
Black Pus,
Newcleus,
Trumans Water,
Black Moon,
Darondo,
Judy Mowatt,
the Swans,
KRS-One,
Monolake, Monolake, Monolake, Monolake.
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.