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 Malawi and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Warsaw to the grunge kids.
I played it at CBGB's.
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 Jesus and Mary Chain. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
the Slits,
Mad Mike,
The Fuzztones,
Drive Like Jehu,
Red Lorry Yellow Lorry,
Rahsaan Roland Kirk,
Neu!,
Sugar Minott,
Avey Tare's Slasher Flicks,
Hashim,
Pole,
The Shadows of Knight,
Eli Mardock,
London Community Gospel Choir,
Lyres,
The Music Machine,
Lou Reed,
Icehouse,
UT,
Severed Heads,
Sun Ra Arkestra,
The Gories,
Alphaville,
Black Moon,
David Axelrod,
Gang Starr,
D'Angelo,
Kurtis Blow,
The Standells,
Ash Ra Tempel,
La Düsseldorf,
Sällskapet,
June Days,
Soft Cell,
This Heat,
Theoretical Girls,
Zero Boys,
Swell Maps,
Soul Sonic Force,
The Beau Brummels,
Ronnie Foster,
Little Man,
Negative Approach,
The Fugs,
The Wake,
Surgeon,
Grandmaster Flash and the Furious Five,
Minor Threat,
Avey Tare & Kría Brekkan,
Barbara Tucker,
Bush Tetras,
Steve Hackett,
Fugazi,
John Foxx,
Nils Olav,
The Toasters,
Laurel Aitken,
Amon Düül II,
Barry Ungar,
Donny Hathaway,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Brand Nubian,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.