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 Namibia and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when David Bowie 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 This Heat to the punk kids.
I played it at CBGB's.
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 Avey Tare. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
The Martian,
PIL,
Grauzone,
Massinfluence,
Schoolly D,
Eric B and Rakim,
Oblivians,
The Neon Judgement,
The West Coast Pop Art Experimental Band,
The Royal Family And The Poor,
Au Pairs,
Danielle Patucci,
The Sisters of Mercy,
Delta 5,
Porter Ricks,
The Slits,
Spandau Ballet,
Todd Rundgren,
Peter and Kerry,
The Dead C,
The Buckinghams,
Chrome,
Lou Reed,
Scientists,
Gil Scott-Heron & Brian Jackson,
T.S.O.L.,
Monolake,
Nas,
Magazine,
Idris Muhammad,
Echo & the Bunnymen,
Bootsy Collins,
Anakelly,
Grandmaster Flash and the Furious Five,
Sixth Finger,
A Certain Ratio,
Thee Headcoats,
Black Pus,
Faust,
The Music Machine,
Ajijia Myrayebe,
Kerrie Biddell,
Graham Central Station,
The Cowsills,
Avey Tare & Kría Brekkan,
Matthew Bourne,
Nation of Ulysses,
Amon Düül II,
Nirvana,
Avey Tare,
B.T. Express,
Jerry Gold Smith,
Deakin,
The Peanut Butter Conspiracy,
Television,
Severed Heads,
Popol Vuh,
Curtis Mayfield,
Lucky Dragons,
Desert Stars,
Alison Limerick,
Ossler, Ossler, Ossler, Ossler.
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.