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 Romania and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Hong Kong 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 Supertramp to the techno kids.
I played it at the Crocodile.
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 Bill Near. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Bootsy Collins,
Stockholm Monsters,
Amazonics,
Gabor Szabo,
Mary Jane Girls,
Roxette,
Lou Reed & John Cale,
Sex Pistols,
Siouxsie and the Banshees,
Nirvana,
World's Most,
Oneida,
Red Lorry Yellow Lorry,
Depeche Mode,
Aswad,
The Neon Judgement,
The Wake,
Hasil Adkins,
Sonic Youth,
Peter Gordon & Love of Life Orchestra,
Rhythm & Sound,
Alice Coltrane,
CMW,
Roy Ayers Ubiquity,
Jeff Lynne,
Minny Pops,
Los Fastidios,
UT,
Skarface,
Sound Behaviour,
Suicide,
The Young Rascals,
Rod Modell,
Avey Tare's Slasher Flicks,
Mantronix,
Traffic Nightmare,
Faraquet,
Richard Hell and the Voidoids,
Ash Ra Tempel,
Eric Dolphy,
The Last Poets,
Buzzcocks,
The Human League,
The West Coast Pop Art Experimental Band,
Deadbeat,
Unwound,
Eden Ahbez,
Howard Jones,
The Blackbyrds,
Sällskapet,
MDC,
Lizzy Mercier Descloux,
Minutemen,
Yusef Lateef,
Can,
China Crisis,
Flipper,
Gang Starr,
DNA, DNA, DNA, DNA.
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.