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 Congo and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 rock 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 Teenage Jesus and the Jerks. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every The Grass Roots 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 '90s.
I hear you're buying a synthesizer 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 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?
Nas,
A Certain Ratio,
The Evens,
The Tremeloes,
Camouflage,
Aaron Thompson,
Johnny Clarke,
Silicon Teens,
X-102,
Deadbeat,
World's Most,
Vladislav Delay,
The Chocolate Watch Band,
Rotary Connection,
Loose Ends,
Sixth Finger,
Jacques Brel,
Pharoah Sanders,
Angry Samoans,
X-Ray Spex,
The Kinks,
Eric Copeland,
Mad Mike,
Soft Machine,
Procol Harum,
The Angels of Light,
The Dirtbombs,
Angels of Light & Akron/Family,
Thompson Twins,
The Trojans,
Grauzone,
The Skatalites,
Terror Squad Feat. Camron,
The Fire Engines,
Audionom,
John Cale,
Model 500,
Easy Going,
Nick Fraelich,
Scientists,
Roy Ayers Ubiquity,
Patti Smith,
The Walker Brothers,
Rahsaan Roland Kirk,
Ultramagnetic MC's,
The Invisible,
The Monochrome Set,
The Fall,
Moby Grape,
Girls At Our Best!,
Selector Dub Narcotic,
L. Decosne,
The West Coast Pop Art Experimental Band,
Kerrie Biddell,
Kool Moe Dee,
The American Breed,
The Move,
The Techniques,
Minutemen,
Thee Headcoats,
The Slackers, The Slackers, The Slackers, The Slackers.
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.