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 Uruguay and from Lille.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Richard Hell and the Voidoids to the techno kids.
I played it at the Spitz.
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 Eric Dolphy. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Yellowson 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
The Litter,
Kool G Rap & DJ Polo,
Rhythm & Sound,
Television,
Trumans Water,
Gabor Szabo,
Eric B and Rakim,
Patti Smith,
Brass Construction,
Hashim,
Jerry Gold Smith,
Drive Like Jehu,
Kaleidoscope,
Absolute Body Control,
Shuggie Otis,
Sun Ra,
Pole,
The Beau Brummels,
Notorious Big And Bone Thugs,
Rapeman,
Underground Resistance,
Scion,
Ultravox,
Minutemen,
Todd Terry,
Thee Headcoats,
The Star Department,
Agitation Free,
Pylon,
Ornette Coleman,
Sunsets and Hearts,
Piero Umiliani,
Radio Birdman,
Duran Duran,
Scratch Acid,
Magazine,
Scan 7,
Juan Atkins,
Rhythim Is Rhythim,
The Neon Judgement,
Sly & The Family Stone,
Oppenheimer Analysis,
Joy Division,
Grandmaster Flash,
The Doobie Brothers,
Lee Hazlewood,
Crispian St. Peters,
Suburban Knight,
John Holt,
Loose Ends,
Terrestrial Tones,
F. McDonald,
Joe Finger,
Silicon Teens,
Lou Reed & John Cale,
Deutsch Amerikanische Freundschaft,
Glenn Branca,
The Evens,
Index, Index, Index, Index.
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.