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 Vietnam and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1979.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Hashim to the dance 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 Black Moon. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Bronski Beat,
Bootsy's Rubber Band,
Nas,
Traffic Nightmare,
T. Rex,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scratch Acid,
Section 25,
Theoretical Girls,
Black Flag,
The Royal Family And The Poor,
Sunsets and Hearts,
Lalann,
Radio Birdman,
Sister Nancy,
Soft Machine,
The Victims,
Glenn Branca,
Pete Rock & C.L. Smooth,
Lizzy Mercier Descloux,
Grandmaster Flash and the Furious Five,
Godley & Creme,
Urselle,
Michelle Simonal,
Minnie Riperton,
The Fuzztones,
The Last Poets,
Bob Dylan,
Sandy B,
Sight & Sound,
Mr. Review,
Pylon,
Angels of Light & Akron/Family,
Lou Reed & Metallica,
Tropical Tobacco,
The Sonics,
Ultimate Spinach,
Crispian St. Peters,
Rahsaan Roland Kirk,
Qualms,
Dennis Brown,
Louis and Bebe Barron,
Fifty Foot Hose,
Kenny Larkin,
Rhythm & Sound,
Juan Atkins,
The Moleskins,
Joy Division,
The Music Machine,
The Wake,
The Mojo Men,
The Detroit Cobras,
Steve Hackett,
the Swans,
Easy Going,
Colin Newman,
Fatback Band,
Ralphi Rosario,
Television Personalities,
June Days,
Drive Like Jehu,
Jerry's Kids,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.