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 Poland and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Rhythm & Sound to the rock 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 Marshall Jefferson. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Jacob Miller,
The Neon Judgement,
Gabor Szabo,
Youth Brigade,
Lower 48,
Captain Beefheart & His Magic Band,
The Trojans,
Byron Stingily,
Bizarre Inc.,
Suicide,
The Count Five,
The West Coast Pop Art Experimental Band,
The Smoke,
David McCallum,
Dave Gahan,
World's Most,
a-ha,
Glenn Branca,
Lou Reed & Metallica,
Reuben Wilson,
Rhythm & Sound,
Gang Starr,
Toni Rubio,
Cal Tjader,
Super Lover Cee & Casanova Rud,
Sarah Menescal,
T. Rex,
Selector Dub Narcotic,
Soul Sonic Force,
The Black Dice,
Lou Reed & John Cale,
Massinfluence,
Joey Negro,
Marmalade,
Henry Cow,
Traffic Nightmare,
One Last Wish,
The Leaves,
Amon Düül II,
The Litter,
Flash Fearless,
Grey Daturas,
Stereo Dub,
Camouflage,
Symarip,
The Grass Roots,
Johnny Clarke,
Absolute Body Control,
Bang on a Can All-Stars,
Magazine,
The Pop Group,
The Index,
Negative Approach,
Panda Bear,
Lebanon Hanover,
Black Sheep,
Delta 5,
Avey Tare's Slasher Flicks,
Colin Newman,
Marc Almond,
Connie Case,
The Slits, The Slits, The Slits, The Slits.
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.