Stand-up comedy, as a performance art, has a dearth of serious academic literature and exposition. In this paper, I set out to analyze comedy at the edge, what I refer to as abject comedy. I draw on the major performers in this vein of performance to analyze the effects of their material. Also, I use my more than three years experience in the stand-up world to take a sincere look at the power and effectiveness of this brand of comedy. The abject comedian addresses the personally political narrative of self-discovery, social inequality, and performative boundaries to absolve herself of the existing circumstances she perceives as deplorable and unfounded. I show that abject stand-up exhibits realistic performative change in not only the audience and performer, but in society as a whole. Lastly, I seek out my own motivations for performing stand-up comedy and address my personal relationship with humor and audience interaction, finding that I aim to discover truth, establish uncertainty, and test the limits of social boundaries. At the very least, I aim to make the audience question, to make them think. I do not expect my material to always have my personal intended affect on the audience, but making an affect, sparking a question, challenging the individual's accepted conceptual boundaries, these are my reasons for approaching the stage. Baring my self through a microphone on a well lit stage in a dark room for a group of strangers whose acceptance or denial elevates or remands my spirit; this is my pursuit. This is why I tell jokes