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 Laos and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 World's Most to the funk kids.
I played it at the Hacienda.
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 Lou Christie. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Juan Atkins 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 '90s.
I hear you're buying an arpeggiator 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's Slasher Flicks record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
The United States of America,
Cal Tjader,
UT,
Black Flag,
The Trojans,
X-102,
Electric Light Orchestra,
The Evens,
Notorious Big And Bone Thugs,
Skarface,
The Doobie Brothers,
The Martian,
Fat Boys,
Bobby Hutcherson,
Brothers Johnson,
Howard Jones,
Drive Like Jehu,
The Slits,
Lebanon Hanover,
Kings Of Tomorrow,
Rekid,
The Techniques,
Pussy Galore,
Popol Vuh,
Cabaret Voltaire,
Interpol,
Das Ding,
Dual Sessions,
Duran Duran,
Jacques Brel,
Aswad,
De La Soul & Jungle Brothers,
One Last Wish,
Flamin' Groovies,
Avey Tare's Slasher Flicks,
Big Daddy Kane,
X-Ray Spex,
Hot Snakes,
John Holt,
Lou Christie,
Camberwell Now,
Max Romeo,
Marmalade,
Ornette Coleman,
Chrome,
Crash Course in Science,
Neu!,
Nik Kershaw,
Fifty Foot Hose,
The Men They Couldn't Hang,
Gil Scott-Heron and Jamie xx,
Radiopuhelimet,
Avey Tare,
James White and The Blacks,
John Cale,
Carl Craig,
Bill Near,
Deepchord,
Delon & Dalcan,
Rotary Connection,
In Retrospect,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.