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 Maldives and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 X-101 to the grunge 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 Depeche Mode. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Unwound,
Mars,
The Busters,
Hasil Adkins,
Heaven 17,
The Victims,
Bob Dylan,
Black Sheep,
Lalann,
Nirvana,
June of 44,
Graham Central Station,
Amazonics,
Rufus Thomas,
Bang on a Can All-Stars,
cv313,
Jeru the Damaja,
the Fania All-Stars,
The Five Americans,
Lower 48,
Be Bop Deluxe,
The Doors,
Ultra Naté,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
Brass Construction,
Teenage Jesus and the Jerks,
Porter Ricks,
The Seeds,
Scientists,
Sister Nancy,
The Barracudas,
In Retrospect,
Symarip,
Radiohead,
Sunsets and Hearts,
The Moody Blues,
Rhythim Is Rhythim,
Big Daddy Kane,
Slave,
Visage,
Pantytec,
Eyeless In Gaza,
Supertramp,
Peter Gordon & Love of Life Orchestra,
Cal Tjader,
The Dirtbombs,
Das Ding,
The Fortunes,
Blossom Toes,
Spandau Ballet,
L. Decosne,
Bobby Byrd,
Johnny Osbourne,
Pete Rock & C.L. Smooth,
Thinking Fellers Union Local 282,
Scan 7,
Country Teasers,
Animal Collective,
Half Japanese,
Anthony Braxton,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.