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 Tanzania and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Tehran and Madrid.
I'm losing my edge to the art-school Lyon 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator 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 Pharaoh Sanders and the Fire Engines to the jazz 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 Stereo Dub. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes 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 mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Quando Quango,
Avey Tare,
The United States of America,
Drexciya,
The Busters,
JFA,
The Selecter,
Pussy Galore,
Sight & Sound,
Lonnie Liston Smith,
Soft Machine,
Blake Baxter,
Kango’s Stein Massive,
Bootsy's Rubber Band,
Isaac Hayes,
Robert Görl,
Joyce Sims,
Ten City,
Technova,
Ponytail,
Liliput,
Matthew Halsall,
X-Ray Spex,
Thinking Fellers Union Local 282,
Joe Finger,
R.M.O.,
Ultimate Spinach,
Selector Dub Narcotic,
The Standells,
Can,
Judy Mowatt,
Alphaville,
Minor Threat,
Boogie Down Productions,
Zero Boys,
Peter Gordon & Love of Life Orchestra,
PIL,
Skarface,
The Motions,
Pete Rock & C.L. Smooth,
Strawberry Alarm Clock,
Sam Rivers,
Sun Ra Arkestra,
James Chance & The Contortions,
Colin Newman,
Masters at Work,
The Residents,
Mo-Dettes,
The Kinks,
Supertramp,
Mantronix,
Wasted Youth,
One Last Wish,
Audionom,
Gichy Dan,
Derrick Morgan,
The Slits,
Mr. Review,
Thee Headcoats,
Marvin Gaye,
The Durutti Column,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.