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 Albania and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Lyon 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 mellotron 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 Andrew Ashong & Theo Parrish to the crunk kids.
I played it at Cafe Wha.
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 John Cale. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Deakin 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 '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
The Dead C,
John Lydon,
Peter and Kerry,
PIL,
Erykah Badu,
Isaac Hayes,
The Toasters,
Sarah Menescal,
Underground Resistance,
The Index,
Sly & The Family Stone,
The Neon Judgement,
The Doors,
Pete Rock & C.L. Smooth,
the Association,
ABC,
Little Man,
The Walker Brothers,
Ohio Players,
Unrelated Segments,
The Gladiators,
Bauhaus,
Saccharine Trust,
Dark Day,
Glenn Branca,
A Flock of Seagulls,
Ronnie Foster,
The Pretty Things,
Matthew Halsall,
Simply Red,
Angry Samoans,
Stereo Dub,
Nirvana,
Johnny Clarke,
Vaughan Mason & Crew,
Essential Logic,
Los Fastidios,
Scan 7,
Magazine,
Maleditus Sound,
Dead Boys,
World's Most,
The Skatalites,
Cybotron,
Beasts of Bourbon,
Sun Ra Arkestra,
Flash Fearless,
Super Lover Cee & Casanova Rud,
The Saints,
Nils Olav,
Joyce Sims,
Bobby Byrd,
The Sisters of Mercy,
Arab on Radar,
The Blackbyrds,
Selector Dub Narcotic,
Suburban Knight,
The Detroit Cobras,
Harpers Bizarre,
Brand Nubian,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.