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 Serbia and from Portland.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 Chic practice in a loft in New York.
I was working on the snare 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 Excepter to the punk 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 The Mighty Diamonds. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Minnie Riperton 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 '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Minor Threat,
Camron Feat. Memphis Bleek And Beenie Seigel,
X-101,
Lou Reed & Metallica,
Black Moon,
Underground Resistance,
Harpers Bizarre,
Depeche Mode,
Piero Umiliani,
Strawberry Alarm Clock,
The American Breed,
Funkadelic,
Fluxion,
Das Ding,
The Dave Clark Five,
The Modern Lovers,
Mr. Review,
Sound Behaviour,
Connie Case,
The Royal Family And The Poor,
Terror Squad Feat. Camron,
Erasure,
The Real Kids,
Fat Boys,
Eyeless In Gaza,
Bootsy's Rubber Band,
The Toasters,
Minutemen,
Drive Like Jehu,
Jerry's Kids,
Pierre Henry,
X-102,
Little Man,
The Index,
Ultra Naté,
Dawn Penn,
MDC,
Black Bananas,
Wolf Eyes,
Black Sheep,
Monks,
Magazine,
Gang Green,
The Buckinghams,
Brass Construction,
Sticky Fingaz feat. Raekwon,
Surgeon,
The Golliwogs,
Mission of Burma,
Soul II Soul,
Lyres,
The West Coast Pop Art Experimental Band,
Blossom Toes,
DeepChord presents Echospace,
Black Pus,
the Slits,
The Moody Blues,
Lightning Bolt,
Stetsasonic,
Dave Gahan,
Barry Ungar,
Joe Finger,
R.M.O., R.M.O., R.M.O., R.M.O..
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.