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 Ecuador and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Chrome to the jazz 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 Thee Headcoats. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Suburban Knight,
The Move,
Mandrill,
Mars,
Kerrie Biddell,
EPMD,
Interpol,
Parry Music,
Chris & Cosey,
Lafayette Afro Rock Band,
Agitation Free,
Harmonia,
Minor Threat,
The Mojo Men,
Slick Rick,
Althea and Donna,
Major Organ And The Adding Machine,
China Crisis,
Man Parrish,
Lebanon Hanover,
Sandy B,
Gil Scott-Heron and Jamie xx,
Model 500,
Pharoah Sanders,
New Age Steppers,
Alton Ellis,
The Barracudas,
Bobbi Humphrey,
Wire,
Silicon Teens,
Gian Franco Pienzio,
Lee Hazlewood,
Avey Tare's Slasher Flicks,
The Real Kids,
The Searchers,
Charles Mingus,
Black Sheep,
Crash Course in Science,
The Invisible,
Lou Reed & John Cale,
Reuben Wilson,
Yaz,
Audionom,
Dual Sessions,
Hashim,
Scott Walker,
Amazonics,
Fatback Band,
Soulsonic Force,
Notorious Big And Bone Thugs,
Nation of Ulysses,
David Axelrod,
Traffic Nightmare,
Marcia Griffiths,
Oneida,
The Velvet Underground,
Groovy Waters,
Aloha Tigers,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.