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 Sri Lanka and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1979.
I'm losing my edge.
To all the kids in Seoul and Accra.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Wighnomy Brothers & Robag Wruhme to the jazz 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Wire,
Josef K,
Eyeless In Gaza,
Skriet,
Crispy Ambulance,
Kool G Rap & DJ Polo,
Aural Exciters,
X-102,
the Bar-Kays,
Second Layer,
Scan 7,
Minutemen,
Ronan,
Royal Trux,
Ultra Naté,
Siouxsie and the Banshees,
Smog,
Pole,
Lebanon Hanover,
The Searchers,
Derrick Morgan,
Avey Tare & Kría Brekkan,
Bootsy Collins,
Bobby Hutcherson,
Alison Limerick,
New York Dolls,
Joensuu 1685,
Super Lover Cee & Casanova Rud,
The Blues Magoos,
The Five Americans,
Grandmaster Flash and the Furious Five,
the Association,
Motorama,
Charles Mingus,
Pete Rock & C.L. Smooth,
Grauzone,
Kurtis Blow,
Inner City,
Von Mondo,
The Moody Blues,
Nick Fraelich,
Black Sheep,
The Dave Clark Five,
Whodini,
Sixth Finger,
The Electric Prunes,
Siglo XX,
Erykah Badu,
The Red Krayola,
Glambeats Corp.,
Mission of Burma,
John Holt,
The Music Machine,
The Remains,
Gang of Four,
Los Fastidios,
Eden Ahbez,
Das Ding,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.