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 Gambia and from Calgary.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1977.
I'm losing my edge.
To all the kids in Houston and Paris.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Masters at Work to the electroclash kids.
I played it at Cafe Wha.
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 Bobbi Humphrey. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Strawberry Alarm Clock,
8 Eyed Spy,
Al Stewart,
Kool G Rap & DJ Polo,
Franke,
Das Ding,
Andrew Ashong & Theo Parrish,
Guru Guru,
Crispy Ambulance,
Black Flag,
Avey Tare,
the Association,
Circle Jerks,
Blake Baxter,
Isaac Hayes,
Bobby Hutcherson,
Quantec,
The Victims,
Scientists,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jeru the Damaja,
Peter and Kerry,
Faust,
Minor Threat,
The Shadows of Knight,
Connie Case,
Soft Cell,
Crash Course in Science,
The Cowsills,
Lalann,
Marc Romboy vs. Booka Shade,
Zapp,
The Techniques,
Newcleus,
Can,
The Stooges,
Con Funk Shun,
June of 44,
The Neon Judgement,
Richard Hell and the Voidoids,
Country Joe & The Fish,
Minutemen,
Bang On A Can,
Captain Beefheart & His Magic Band,
Absolute Body Control,
Faraquet,
Lou Reed,
Vaughan Mason & Crew,
Lindisfarne,
Iggy Pop,
Popol Vuh,
Sexual Harrassment,
Jerry Gold Smith,
Sixth Finger,
Tomorrow,
Grauzone,
Sugar Minott,
Main Source,
Drive Like Jehu,
Alton Ellis,
Lou Reed & John Cale,
Ludus,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.