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 Gambia and from Spokane.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Manchester 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 1971 at the first Selda practice in a loft in Istanbul.
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 EPMD to the electroclash kids.
I played it at the Roxy.
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 Arab on Radar. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal punk 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Brand Nubian,
Avey Tare's Slasher Flicks,
Loose Ends,
Nick Cave & The Bad Seeds,
JFA,
Index,
Carl Craig,
Peter and Kerry,
Unwound,
T. Rex,
The Toasters,
Wings,
Sound Behaviour,
The Evens,
Patti Smith,
Strawberry Alarm Clock,
Black Flag,
10cc,
Susan Cadogan,
Grey Daturas,
Henry Cow,
X-102,
The Selecter,
Ituana,
Hashim,
Bang on a Can All-Stars,
Bobby Hutcherson,
Harpers Bizarre,
48th St. Collective,
Monks,
Funkadelic,
Janne Schatter,
Mantronix,
Fatback Band,
Black Sheep,
Leonard Cohen,
Matthew Bourne,
The Residents,
Main Source,
Byron Stingily,
Aswad,
Curtis Mayfield,
The Slackers,
The Cosmic Jokers,
PIL,
Kaleidoscope,
The Misunderstood,
Colin Newman,
Groovy Waters,
Pulsallama,
AZ,
Nick Fraelich,
Royal Trux,
Kool G Rap & DJ Polo,
Peter & Gordon,
Kerrie Biddell,
The Fire Engines,
Donald Byrd,
Smog,
Red Lorry Yellow Lorry,
Intrusion,
Warsaw,
Pantytec, Pantytec, Pantytec, Pantytec.
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.