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 Nepal and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Jesper Dahlback to the rap 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 Leonard Cohen. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal punk 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 an organ 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Ronnie Foster,
Glambeats Corp.,
World's Most,
Fifty Foot Hose,
Amon Düül II,
Graham Central Station,
Qualms,
The Monks,
Röyhkä ja Rättö ja Lehtisalo,
Scion,
The Fire Engines,
Cymande,
Davy DMX,
The Raincoats,
Fela Kuti,
Sun Ra,
Deutsch Amerikanische Freundschaft,
X-102,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacques Brel,
Idris Muhammad,
Big Daddy Kane,
The Sound,
The Sisters of Mercy,
Nick Cave & The Bad Seeds,
T. Rex,
Albert Ayler,
Minnie Riperton,
Kenny Larkin,
Kayak,
The Dirtbombs,
Wire,
The Mighty Diamonds,
De La Soul & Jungle Brothers,
Grandmaster Flash,
Al Stewart,
Marine Girls,
The Offenders,
Boz Scaggs,
The Moody Blues,
Roy Ayers Ubiquity,
The Peanut Butter Conspiracy,
Todd Terry,
Eric Dolphy,
Brass Construction,
Sonny Sharrock,
Country Teasers,
Das Ding,
The Standells,
Slave,
The Cowsills,
Reuben Wilson,
Sister Nancy,
The Red Krayola,
Crash Course in Science,
Throbbing Gristle,
Echospace,
Arcadia,
Inner City,
R.M.O., R.M.O., R.M.O., R.M.O..
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.