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 Guyana and from Spokane.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Lou Reed 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 The Toasters to the jazz kids.
I played it at CBGB's.
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 Anthony Braxton. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Nico 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 '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
The Remains,
Be Bop Deluxe,
Public Enemy,
The Gories,
Bootsy Collins,
Con Funk Shun,
Derrick Morgan,
Make Up,
Jesper Dahlback,
Todd Terry,
Crispy Ambulance,
Super Lover Cee & Casanova Rud,
The Chocolate Watch Band,
Erasure,
The Gladiators,
Beasts of Bourbon,
AZ,
Yellowson,
K-Klass,
U.S. Maple,
Pantaleimon,
the Slits,
The Modern Lovers,
Aswad,
Pagans,
The Slackers,
Oppenheimer Analysis,
Pet Shop Boys,
Eric Copeland,
Black Sheep,
Gichy Dan,
the Association,
Slave,
David McCallum,
Traffic Nightmare,
Don Cherry,
The Selecter,
Amon Düül,
John Coltrane,
Notorious Big And Bone Thugs,
Scientists,
Black Bananas,
Roxy Music,
Mark Hollis,
The Offenders,
Minutemen,
Sad Lovers and Giants,
Pete Rock & C.L. Smooth,
Cecil Taylor,
Roxette,
Hoover,
Nick Cave & The Bad Seeds,
Sam Rivers,
Patti Smith,
Reuben Wilson,
Outsiders,
The Fortunes,
The Invisible,
Jawbox, Jawbox, Jawbox, Jawbox.
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.