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 Togo and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Manila.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Agent Orange to the grunge 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 Robert Hood. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a 808 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Boogie Down Productions,
Sex Pistols,
Alton Ellis,
Los Fastidios,
Grandmaster Flash,
Nas,
The Zeros,
Roy Ayers,
D'Angelo,
Henry Cow,
Darondo,
Oneida,
Dark Day,
Hot Snakes,
Arcadia,
Can,
This Heat,
The Searchers,
Brand Nubian,
MC5,
The Offenders,
the Swans,
Symarip,
Soft Cell,
Cabaret Voltaire,
Groovy Waters,
Vainqueur,
Sarah Menescal,
Soul II Soul,
Howard Jones,
The Doors,
a-ha,
DeepChord presents Echospace,
Radiopuhelimet,
Fela Kuti,
Chrome,
Livin' Joy,
DNA,
Gang Gang Dance,
Manfred Mann's Earth Band,
Shoche,
De La Soul & Jungle Brothers,
Masters at Work,
Bill Wells,
Lungfish,
Michelle Simonal,
Minutemen,
The Durutti Column,
Banda Bassotti,
The Smiths,
The Five Americans,
Das Ding,
Nik Kershaw,
Flamin' Groovies,
Swans,
Public Enemy,
Eric Copeland,
Gian Franco Pienzio,
The Barracudas,
Pierre Henry,
Visage,
UT,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.