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 Papua New Guinea and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Taipei 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Pantaleimon to the grunge kids.
I played it at CBGB's.
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 Lafayette Afro Rock Band. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Masters at Work 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 '70s.
I hear you're buying a marimba and a 808 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 sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
the Swans,
Mark Hollis,
Godley & Creme,
The Gories,
Skarface,
Fifty Foot Hose,
Notorious Big And Bone Thugs,
Groovy Waters,
Blossom Toes,
Radio Birdman,
The Zeros,
PIL,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thompson Twins,
Selector Dub Narcotic,
Hardrive,
Ice-T,
Pharaoh Sanders and the Fire Engines,
The Count Five,
Graham Central Station,
The Names,
Livin' Joy,
Rhythim Is Rhythim,
The Monks,
The Chocolate Watch Band,
Pharoah Sanders,
Fugazi,
Rites of Spring,
The Human League,
Man Parrish,
Audionom,
The Victims,
Brick,
Crime,
Justin Hinds & The Dominoes,
Sunsets and Hearts,
Marcia Griffiths,
Glenn Branca,
The Sisters of Mercy,
F. McDonald,
Aswad,
Simply Red,
Bronski Beat,
Minnie Riperton,
Ohio Players,
Eurythmics,
The Moody Blues,
Traffic Nightmare,
Matthew Halsall,
Gang Starr,
Soul II Soul,
Mr. Review,
Oblivians,
Kauko Röyhkä ja Narttu,
Gerry Rafferty,
Quantec,
Subhumans,
Gary Puckett & The Union Gap,
Tears for Fears,
Panda Bear,
Tommy Roe,
Marc Almond,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.