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 Netherlands and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Madrid 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Idris Muhammad to the electroclash kids.
I played it at the Hacienda.
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 PIL. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Neil Young & Crazy Horse,
Camron Feat. Memphis Bleek And Beenie Seigel,
Monks,
The Gories,
Lou Christie,
Arcadia,
Pet Shop Boys,
John Cale,
Letta Mbulu,
Graham Central Station,
Erasure,
Man Eating Sloth,
Barry Ungar,
The Music Machine,
The Smoke,
Yaz,
Andrew Ashong & Theo Parrish,
Desert Stars,
Sister Nancy,
Drive Like Jehu,
The Toasters,
Glenn Branca,
Prince Buster,
Flipper,
Ice-T,
X-102,
48th St. Collective,
Lucky Dragons,
Echospace,
The Tremeloes,
Johnny Osbourne,
Tom Boy,
New Order,
Ken Boothe,
Sarah Menescal,
Gary Puckett & The Union Gap,
Buzzcocks,
Neu!,
Scratch Acid,
Matthew Halsall,
Notorious Big And Bone Thugs,
Jeff Mills,
Sam Rivers,
The Zeros,
Eric Copeland,
Ultra Naté,
Quantec,
Max Romeo,
Soulsonic Force,
The Cowsills,
Skriet,
the Soft Cell,
Kool Moe Dee,
Jesper Dahlback,
Sugar Minott,
K-Klass,
The Velvet Underground,
Skarface,
Eli Mardock,
Judy Mowatt,
Aswad, Aswad, Aswad, Aswad.
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.