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 Peru and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Mexico City 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 Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Eyeless In Gaza to the disco 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 The Residents. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal funk 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Neil Young,
Sexual Harrassment,
Nils Olav,
The Barracudas,
Hot Snakes,
Eve St. Jones,
10cc,
The Moleskins,
Jerry's Kids,
Fugazi,
Orchestral Manoeuvres in the Dark,
Bauhaus,
The Blackbyrds,
Interpol,
New York Dolls,
Max Romeo,
The Mummies,
Gang Gang Dance,
U.S. Maple,
The Alarm Clocks,
Parry Music,
Gregory Isaacs,
Red Lorry Yellow Lorry,
Justin Hinds & The Dominoes,
Aloha Tigers,
Pulsallama,
Shoche,
Icehouse,
Quantec,
Gil Scott-Heron and Jamie xx,
Silicon Teens,
Skaos,
Cabaret Voltaire,
New Order,
The Offenders,
FM Einheit,
Mary Jane Girls,
cv313,
Roxette,
The Five Americans,
Gabor Szabo,
Ohio Players,
Young Marble Giants,
The Trojans,
The Cramps,
K-Klass,
Albert Ayler,
Spandau Ballet,
Angry Samoans,
Country Teasers,
Barclay James Harvest,
Blancmange,
Bush Tetras,
Barbara Tucker,
The Jesus and Mary Chain,
Mantronix,
Pantaleimon,
Massinfluence,
Average White Band,
Todd Terry,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.