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 Mongolia and from Copenhagen.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 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 X-101 to the grunge 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 Brick. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Scientists,
June Days,
Roxette,
Crime,
Unwound,
Yusef Lateef,
Bobby Womack,
Reagan Youth,
Masters at Work,
Echospace,
The Detroit Cobras,
Moebius,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Victims,
Country Joe & The Fish,
Warren Ellis,
FM Einheit,
Faust,
Richard Hell and the Voidoids,
Letta Mbulu,
EPMD,
Smog,
Kurtis Blow,
Los Fastidios,
Gerry Rafferty,
Bootsy's Rubber Band,
Oblivians,
Scan 7,
Robert Wyatt,
Matthew Halsall,
Mark Hollis,
N.O.R.E. Featuring Pharrell,
The Fuzztones,
Robert Görl,
Index,
T.S.O.L.,
Flipper,
Hashim,
K-Klass,
Steve Hackett,
Notorious Big And Bone Thugs,
Bobby Hutcherson,
Grandmaster Flash,
Black Flag,
Pere Ubu,
Jimmy McGriff,
Wasted Youth,
Silicon Teens,
Jeff Lynne,
Yaz,
48th St. Collective,
Pete Rock & C.L. Smooth,
The Zeros,
Moss Icon,
the Bar-Kays,
Lou Reed & John Cale,
Deepchord,
Rakim,
Marvin Gaye,
The Alarm Clocks,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.