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 Barbados and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Paris and New York.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Tim Buckley to the jazz kids.
I played it at the Roxy.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare 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 harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Victims,
The Shadows of Knight,
The Motions,
Public Image Ltd.,
the Bar-Kays,
Slave,
Wings,
Derrick May,
Donny Hathaway,
China Crisis,
Blancmange,
Nirvana,
The Sisters of Mercy,
Nation of Ulysses,
Orchestral Manoeuvres in the Dark,
Nils Olav,
ABC,
Aswad,
Stockholm Monsters,
The Blues Magoos,
Neil Young & Crazy Horse,
the Association,
The Sonics,
Rod Modell,
Model 500,
The Royal Family And The Poor,
Dorothy Ashby,
Nas,
The Fuzztones,
Tears for Fears,
Michelle Simonal,
Avey Tare & Kría Brekkan,
Gian Franco Pienzio,
Negative Approach,
Ultravox,
Steve Hackett,
The Litter,
Visage,
Pantaleimon,
Nico,
Gerry Rafferty,
These Immortal Souls,
Marcia Griffiths,
Carl Craig,
R.M.O.,
Dark Day,
Jeff Mills,
Colin Newman,
The Dead C,
Ornette Coleman,
Groovy Waters,
the Slits,
Kas Product,
Letta Mbulu,
Thompson Twins,
Ash Ra Tempel,
Traffic Nightmare,
Pet Shop Boys,
The Grass Roots,
Marc Romboy vs. Booka Shade,
Young Marble Giants,
Clear Light, Clear Light, Clear Light, Clear Light.
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.