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 Nicaragua and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide 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 1964 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Madrid 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Glenn Branca to the funk kids.
I played it at the Crocodile.
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 Archie Shepp. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Minor Threat,
Chrome,
Eurythmics,
Los Fastidios,
Motorama,
The Sisters of Mercy,
Nils Olav,
The Searchers,
Fifty Foot Hose,
Zero Boys,
Scott Walker,
The Fugs,
Pet Shop Boys,
T. Rex,
Girls At Our Best!,
The Royal Family And The Poor,
The Trojans,
Gong,
The Gun Club,
Barbara Tucker,
The Blues Magoos,
John Holt,
Joe Smooth,
Sunsets and Hearts,
Rod Modell,
Pulsallama,
Royal Trux,
Mantronix,
Marcia Griffiths,
The Gap Band,
FM Einheit,
Masters at Work,
Grauzone,
Von Mondo,
Clear Light,
Magazine,
The Pop Group,
Chris Corsano,
Tommy Roe,
Gil Scott Heron,
Deutsch Amerikanische Freundschaft,
Eric B and Rakim,
Deakin,
Ponytail,
A Flock of Seagulls,
Thinking Fellers Union Local 282,
KRS-One,
Japan,
Grandmaster Flash,
The Peanut Butter Conspiracy,
T.S.O.L.,
Livin' Joy,
Brick,
DJ Style,
Hashim,
One Last Wish,
Joey Negro,
New Order,
Stockholm Monsters,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.