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 Philippines and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when Tom Verlaine 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 The Count Five to the disco kids.
I played it at the Spitz.
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 Talk Talk. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator 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 chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Babytalk,
Terrestrial Tones,
Gregory Isaacs,
Japan,
Sad Lovers and Giants,
The Moody Blues,
James White and The Blacks,
Lightning Bolt,
Faraquet,
Eddi Front,
The Birthday Party,
Barrington Levy,
Cal Tjader,
Joe Smooth,
Scion,
Richard Hell and the Voidoids,
Pole,
Stockholm Monsters,
Yaz,
The Smoke,
the Bar-Kays,
Kevin Saunderson,
The Index,
Bang On A Can,
Marc Romboy vs. Booka Shade,
Malaria!,
Suicide,
The Evens,
Motorama,
Albert Ayler,
Big Daddy Kane,
Shoche,
Brass Construction,
New York Dolls,
Steve Hackett,
Livin' Joy,
Amon Düül II,
The Barracudas,
Pylon,
Ronnie Foster,
D'Angelo,
The J.B.'s,
Radiohead,
Roy Ayers,
Mandrill,
Oppenheimer Analysis,
N.O.R.E. Featuring Pharrell,
Aaron Thompson,
Cabaret Voltaire,
Heavy D & The Boyz,
Glambeats Corp.,
Eyeless In Gaza,
Eurythmics,
Harpers Bizarre,
Rhythm & Sound,
Maleditus Sound,
Charles Mingus,
Terry Callier,
Echo & the Bunnymen,
Organ,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.