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 Argentina and from Lagos.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Bremen 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe 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 John Holt to the rock kids.
I played it at the Crocodile.
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 Terrestrial Tones. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Kango’s Stein Massive,
Cabaret Voltaire,
Kool G Rap & DJ Polo,
Lee Hazlewood,
Arthur Verocai,
Glambeats Corp.,
Maleditus Sound,
Gil Scott-Heron and Jamie xx,
Lou Reed & John Cale,
Loose Ends,
The Associates,
Mark Hollis,
Scan 7,
In Retrospect,
New York Dolls,
Pharaoh Sanders and the Fire Engines,
Mo-Dettes,
Pantytec,
The United States of America,
the Normal,
Deutsch Amerikanische Freundschaft,
The Smiths,
Jeff Mills,
Jandek,
The West Coast Pop Art Experimental Band,
Blancmange,
Shoche,
Guru Guru,
LL Cool J,
Cal Tjader,
Matthew Bourne,
Alice Coltrane,
Kurtis Blow,
Louis and Bebe Barron,
Con Funk Shun,
PIL,
Joy Division,
The Zeros,
The Saints,
Bizarre Inc.,
Fatback Band,
Notorious BIG live in Amsterdam,
Smog,
Matthew Halsall,
Siouxsie and the Banshees,
The Dead C,
Niagra,
Unrelated Segments,
Peter and Kerry,
Joey Negro,
Dead Boys,
Sad Lovers and Giants,
The Pretty Things,
Crooked Eye,
Nils Olav,
Swell Maps,
Boogie Down Productions,
Heaven 17,
Wally Richardson,
Mr. Review,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.