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 Slovenia and from Woodstock.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Manila 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 Maurizio to the grime 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 Idris Muhammad. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Joe Finger,
Moebius,
Red Lorry Yellow Lorry,
Buzzcocks,
Eden Ahbez,
Moby Grape,
Sonny Sharrock,
Groovy Waters,
Barrington Levy,
Lower 48,
Symarip,
Lakeside,
Gong,
Crispy Ambulance,
Man Eating Sloth,
Captain Beefheart & His Magic Band,
Circle Jerks,
Donny Hathaway,
The Cramps,
The Five Americans,
The Moleskins,
Stockholm Monsters,
Mr. Review,
Patti Smith,
The Victims,
The Men They Couldn't Hang,
The Barracudas,
Radio Birdman,
Bobby Sherman,
Sight & Sound,
Metal Thangz,
The Standells,
T. Rex,
Accadde A,
Aaron Thompson,
Television Personalities,
The Doobie Brothers,
Unwound,
Skaos,
Pete Rock & C.L. Smooth,
June Days,
Unrelated Segments,
Alison Limerick,
Arcadia,
The Detroit Cobras,
Vainqueur,
The Royal Family And The Poor,
The Smoke,
Funky Four + One,
L. Decosne,
Arthur Verocai,
The Pretty Things,
Heavy D & The Boyz,
Anthony Braxton,
The Sonics,
Kenny Larkin,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
Echospace,
Saccharine Trust,
Joyce Sims,
The Fugs, The Fugs, The Fugs, The Fugs.
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.