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 Mauritania and from Copenhagen.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Drive Like Jehu to the grime kids.
I played it at the 40 Watt.
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 Lucky Dragons. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Banda Bassotti,
KRS-One,
The Jesus and Mary Chain,
Big Daddy Kane,
the Human League,
The Victims,
The Vogues,
Justin Hinds & The Dominoes,
Fatback Band,
Pierre Henry,
Jacques Brel,
Avey Tare's Slasher Flicks,
Alton Ellis,
La Düsseldorf,
OOIOO,
In Retrospect,
The Five Americans,
Animal Collective,
Liliput,
Oblivians,
Oneida,
Fat Boys,
Al Stewart,
the Sonics,
Slave,
Hasil Adkins,
Tears for Fears,
Moebius,
Urselle,
Kango’s Stein Massive,
Skaos,
Man Eating Sloth,
Fluxion,
Sun City Girls,
John Lydon,
Crash Course in Science,
The Buckinghams,
Unwound,
Lalann,
Cybotron,
Country Joe & The Fish,
a-ha,
The Electric Prunes,
Flipper,
Faraquet,
The Invisible,
MDC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Neon Judgement,
Fad Gadget,
Sugar Minott,
T.S.O.L.,
The Associates,
Chrome,
Sam Rivers,
Notorious BIG live in Amsterdam,
James White and The Blacks,
Rahsaan Roland Kirk,
Faust,
Brass Construction,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.