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 Jakarta.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Sad Lovers and Giants to the grunge 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 Tom Boy. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Lou Reed & John Cale,
The Velvet Underground,
The Invisible,
Tim Buckley,
DJ Style,
Niagra,
Ludus,
The Fall,
The Seeds,
Lonnie Liston Smith,
Masters at Work,
Bobby Sherman,
Wolf Eyes,
Dual Sessions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Derrick May,
Kayak,
Donny Hathaway,
Henry Cow,
MDC,
Marshall Jefferson,
David Axelrod,
Fela Kuti,
Cymande,
Blossom Toes,
Ash Ra Tempel,
The Residents,
Black Sheep,
Public Image Ltd.,
Vladislav Delay,
Stereo Dub,
Kenny Larkin,
Bobbi Humphrey,
Can,
David Bowie,
The Grass Roots,
Blancmange,
Avey Tare,
Hasil Adkins,
Grey Daturas,
Pulsallama,
Desert Stars,
Quando Quango,
a-ha,
X-Ray Spex,
Dawn Penn,
Youth Brigade,
Agent Orange,
Yusef Lateef,
Amon Düül II,
The Associates,
Marine Girls,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Todd Rundgren,
Alton Ellis,
Quantec,
Rahsaan Roland Kirk,
Little Man,
Eric Dolphy,
Barbara Tucker,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.