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 South Sudan and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Woodstock 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 Wire practice in a loft in Watford.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Nico to the electroclash kids.
I played it at the Astoria.
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 Dave Clark Five. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Rakim 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
The Flesh Eaters,
Kool G Rap & DJ Polo,
The Moody Blues,
Newcleus,
Bang On A Can,
Robert Hood,
D'Angelo,
Faraquet,
Urselle,
Spoonie Gee,
Albert Ayler,
Darondo,
Derrick Morgan,
The Birthday Party,
Avey Tare & Kría Brekkan,
The Slackers,
The Doors,
Sonny Sharrock,
Eyeless In Gaza,
The Fire Engines,
Grauzone,
Bauhaus,
Bobby Byrd,
Little Man,
Pantaleimon,
Pharaoh Sanders and the Fire Engines,
The Sisters of Mercy,
Arab on Radar,
Index,
The Royal Family And The Poor,
Isaac Hayes,
DJ Sneak,
Kauko Röyhkä ja Narttu,
Soft Machine,
Dorothy Ashby,
Lalann,
Grandmaster Flash and the Furious Five,
Kaleidoscope,
Pierre Henry,
Hasil Adkins,
The Alarm Clocks,
Lower 48,
MC5,
The Divine Comedy,
Black Moon,
Ultramagnetic MC's,
Pete Rock & C.L. Smooth,
Big Daddy Kane,
Sällskapet,
Fluxion,
Ossler,
Ice-T,
Sandy B,
Man Parrish,
Althea and Donna,
The Five Americans,
Funkadelic,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.