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 Micronesia and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 U.S. Maple 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 Hardrive. All the underground hits.
All the Association tracks. I heard you have a vinyl of every the Sonics 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Sister Nancy,
Eric Dolphy,
Eden Ahbez,
Agent Orange,
Bobby Byrd,
the Fania All-Stars,
The Beau Brummels,
Silicon Teens,
Tubeway Army,
Lizzy Mercier Descloux,
The Toasters,
Das Ding,
Amon Düül,
Sly & The Family Stone,
The Associates,
Skriet,
The Chocolate Watch Band,
Cal Tjader,
Sällskapet,
The Knickerbockers,
Camron Feat. Memphis Bleek And Beenie Seigel,
The New Christs,
Electric Light Orchestra,
Sugar Minott,
The Martian,
Nico,
Organ,
The Motions,
Heaven 17,
The Blackbyrds,
The Seeds,
Massinfluence,
Bootsy's Rubber Band,
Matthew Bourne,
X-101,
Groovy Waters,
Gastr Del Sol,
Barclay James Harvest,
Traffic Nightmare,
Sandy B,
Sonic Youth,
EPMD,
Underground Resistance,
Scientists,
In Retrospect,
Harmonia,
Marcia Griffiths,
Michelle Simonal,
Minor Threat,
James Chance & The Contortions,
James White and The Blacks,
Prince Buster,
The United States of America,
Q65,
Aaron Thompson,
The Saints,
Andrew Hill,
Loose Ends,
Nick Cave & The Bad Seeds,
Marmalade,
Urselle,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.