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 Somalia and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Seoul.
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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Dave Gahan to the grime 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 The Happenings. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Ornette Coleman 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Stooges,
Rhythm & Sound,
Matthew Halsall,
Bronski Beat,
The New Christs,
Yazoo,
Isaac Hayes,
The United States of America,
Mr. Review,
Motorama,
Harry Pussy,
Larry & the Blue Notes,
The Invisible,
Brass Construction,
Pulsallama,
Gastr Del Sol,
Soft Cell,
Danielle Patucci,
The Selecter,
Sun Ra,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
Dead Boys,
The Mighty Diamonds,
The Peanut Butter Conspiracy,
Fela Kuti,
Röyhkä ja Rättö ja Lehtisalo,
Brothers Johnson,
Barrington Levy,
The Smoke,
Agent Orange,
Avey Tare,
Grey Daturas,
The Blues Magoos,
June Days,
The Fugs,
Sly & The Family Stone,
Chris Corsano,
Soft Machine,
Bobbi Humphrey,
Barclay James Harvest,
Captain Beefheart & His Magic Band,
Angels of Light & Akron/Family,
the Normal,
The Knickerbockers,
Bush Tetras,
The Flesh Eaters,
Magazine,
Trumans Water,
Amazonics,
The Human League,
Traffic Nightmare,
Tomorrow,
A Certain Ratio,
Wire,
Nick Fraelich,
Mo-Dettes,
Harpers Bizarre,
The Happenings,
Soul II Soul,
10cc,
Flash Fearless,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.