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 Macedonia and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school Toronto 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Monochrome Set to the rap kids.
I played it at the Troubador.
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 New Order. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Robert Wyatt,
Mark Hollis,
Howard Jones,
The Blackbyrds,
Country Joe & The Fish,
Jeru the Damaja,
The Alarm Clocks,
Tommy Roe,
Dual Sessions,
PIL,
Inner City,
Clear Light,
The Black Dice,
Zapp,
DeepChord presents Echospace,
Jimmy McGriff,
Kayak,
Sun Ra Arkestra,
Glambeats Corp.,
The West Coast Pop Art Experimental Band,
AZ,
Jesper Dahlback,
The Royal Family And The Poor,
Porter Ricks,
Lou Christie,
Sun City Girls,
Nas,
Black Flag,
Angry Samoans,
The Leaves,
Fugazi,
Lindisfarne,
Underground Resistance,
The Young Rascals,
The Remains,
Bootsy Collins,
Joe Smooth,
Althea and Donna,
8 Eyed Spy,
Con Funk Shun,
Neu!,
Skriet,
The Gladiators,
The Motions,
Steve Hackett,
The Cowsills,
Yaz,
Gong,
Talk Talk,
Matthew Halsall,
Richard Hell and the Voidoids,
Symarip,
Avey Tare,
David Axelrod,
B.T. Express,
Delta 5,
Technova,
The Busters,
Mars,
Boz Scaggs,
FM Einheit,
Gang Green,
Little Man, Little Man, Little Man, Little Man.
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.