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 Sierra Leone and from Beijing.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Paris 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes 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 Slave to the disco kids.
I played it at the Astoria.
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 Basic Channel. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb 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 rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Robert Hood,
The Associates,
Accadde A,
Sonic Youth,
Bill Near,
Angry Samoans,
Country Teasers,
Flipper,
A Flock of Seagulls,
The Grass Roots,
Orchestral Manoeuvres in the Dark,
It's A Beautiful Day,
Ronnie Foster,
The Gap Band,
Sight & Sound,
Wolf Eyes,
The Music Machine,
Slick Rick,
The Alarm Clocks,
Swans,
Minor Threat,
John Cale,
T.S.O.L.,
Michelle Simonal,
The Sonics,
Scion,
Man Eating Sloth,
Deutsch Amerikanische Freundschaft,
Iggy Pop,
Max Romeo,
Gil Scott-Heron & Brian Jackson,
Roxette,
Peter Gordon & Love of Life Orchestra,
The Electric Prunes,
Joey Negro,
Can,
Grandmaster Flash,
Tears for Fears,
Marshall Jefferson,
Pere Ubu,
Lower 48,
The Zeros,
Freddie Wadling,
Terrestrial Tones,
The Pop Group,
Grandmaster Flash and the Furious Five,
Crispy Ambulance,
Rites of Spring,
Anthony Braxton,
The Saints,
Avey Tare's Slasher Flicks,
Essential Logic,
Organ,
Television,
Rowland S Howard / Lydia Lunch,
Gong,
Judy Mowatt,
Jerry's Kids,
Junior Murvin,
Cheater Slicks,
Patti Smith,
Scientists, Scientists, Scientists, Scientists.
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.