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 Solomon Islands and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Lucky Dragons to the punk kids.
I played it at Trash.
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 Unwound. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
UT,
The Names,
Crash Course in Science,
James Chance & The Contortions,
Subhumans,
Traffic Nightmare,
Symarip,
The Moleskins,
John Foxx,
Ash Ra Tempel,
The Kinks,
The Misunderstood,
Hasil Adkins,
Kango’s Stein Massive,
Skriet,
Guru Guru,
Scientists,
Don Cherry,
The Sound,
Gian Franco Pienzio,
Maleditus Sound,
The Five Americans,
Nils Olav,
Gerry Rafferty,
The United States of America,
Radiopuhelimet,
Echo & the Bunnymen,
The Zeros,
Rosa Yemen,
Sarah Menescal,
Crispian St. Peters,
Tubeway Army,
Outsiders,
The Gap Band,
Tommy Roe,
The Music Machine,
Sly & The Family Stone,
Kool G Rap & DJ Polo,
Jandek,
Barrington Levy,
X-102,
Isaac Hayes,
Joensuu 1685,
Mr. Review,
Lee Hazlewood,
Tres Demented,
Oppenheimer Analysis,
Los Fastidios,
The Sisters of Mercy,
Lalo Schifrin,
Roxette,
Deakin,
Soulsonic Force,
Peter & Gordon,
Au Pairs,
Crooked Eye,
Second Layer,
Bill Near,
The Mojo Men,
Interpol, Interpol, Interpol, Interpol.
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.