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 Korea South and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Aaron Thompson to the rock kids.
I played it at the Troubador.
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 Alison Limerick. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Grandmaster Flash and the Furious Five,
Maurizio,
Susan Cadogan,
Zero Boys,
Monks,
Skarface,
Clear Light,
Man Parrish,
The Names,
Sight & Sound,
Siglo XX,
Todd Terry,
Notorious BIG live in Amsterdam,
Hashim,
Rhythim Is Rhythim,
Excepter,
Johnny Osbourne,
Masters at Work,
Mad Mike,
Crime,
Buzzcocks,
Curtis Mayfield,
Ronan,
June Days,
Jawbox,
John Holt,
A Flock of Seagulls,
Average White Band,
Ice-T,
Godley & Creme,
Delta 5,
Theoretical Girls,
Marshall Jefferson,
Dennis Brown,
Toni Rubio,
Bauhaus,
Throbbing Gristle,
Minnie Riperton,
Index,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Joey Negro,
The Cramps,
UT,
Sunsets and Hearts,
Eyeless In Gaza,
Lindisfarne,
Dual Sessions,
Bronski Beat,
Neu!,
Fad Gadget,
Mo-Dettes,
Peter & Gordon,
The Gories,
Prince Buster,
Kauko Röyhkä ja Narttu,
Thinking Fellers Union Local 282,
In Retrospect,
Fear,
Interpol,
Peter and Kerry,
Deepchord,
Cal Tjader,
Fugazi, Fugazi, Fugazi, Fugazi.
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.