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 Ivory Coast and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Golliwogs to the electroclash 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 Avey Tare. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Golliwogs 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Brick,
John Cale,
Minny Pops,
Accadde A,
Suburban Knight,
Lalo Schifrin,
Wings,
Brass Construction,
Black Sheep,
Judy Mowatt,
Nils Olav,
Loose Ends,
Peter and Kerry,
Depeche Mode,
The Count Five,
Yaz,
Liaisons Dangereuses,
Camouflage,
Jeff Lynne,
Jacob Miller,
Freddie Wadling,
Rufus Thomas,
Blossom Toes,
Be Bop Deluxe,
Sexual Harrassment,
Bootsy Collins,
Television,
Major Organ And The Adding Machine,
Stetsasonic,
Flipper,
Ice-T,
Aloha Tigers,
JFA,
Mandrill,
Rod Modell,
Dual Sessions,
The Human League,
Grandmaster Flash,
Nation of Ulysses,
AZ,
Curtis Mayfield,
Roy Ayers Ubiquity,
Sun Ra Arkestra,
Barbara Tucker,
Slick Rick,
Eric Copeland,
The Music Machine,
Jeff Mills,
Anthony Braxton,
James Chance & The Contortions,
Khruangbin,
Porter Ricks,
The Moleskins,
Johnny Clarke,
Dave Gahan,
The Remains,
Pylon,
Groovy Waters,
Saccharine Trust,
Shoche, Shoche, Shoche, Shoche.
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.