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 Ethiopia and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Accra 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 Soft Boys practice in a loft in Cambridge.
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 Arab on Radar 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 Howard Jones. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and an oboe 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Black Bananas,
Grandmaster Flash,
Avey Tare's Slasher Flicks,
Ludus,
the Germs,
The Litter,
Lebanon Hanover,
The Pop Group,
Fad Gadget,
The Techniques,
Lou Reed & Metallica,
Arcadia,
Hoover,
The Tremeloes,
DJ Sneak,
Joe Finger,
L. Decosne,
Negative Approach,
The Busters,
Model 500,
Bang on a Can All-Stars,
T.S.O.L.,
Essential Logic,
Isaac Hayes,
The Black Dice,
The Beau Brummels,
Tres Demented,
Alton Ellis,
MDC,
Patti Smith,
Second Layer,
Donny Hathaway,
John Foxx,
DNA,
The Slits,
Monolake,
10cc,
Janne Schatter,
New Order,
Jeru the Damaja,
Erasure,
Wire,
The Cramps,
Jacob Miller,
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
The Residents,
Scratch Acid,
Eric B and Rakim,
Stereo Dub,
The Gun Club,
the Association,
Half Japanese,
The Gap Band,
Loose Ends,
Harmonia,
Robert Hood,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.