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 Delhi.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Ultravox to the electroclash kids.
I played it at the Roxy.
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 Severed Heads. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Dark Day 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Terrestrial Tones,
Warren Ellis,
Yusef Lateef,
Banda Bassotti,
Minnie Riperton,
Alton Ellis,
Bobby Hutcherson,
Echospace,
The Electric Prunes,
Glambeats Corp.,
Pylon,
Funkadelic,
Hasil Adkins,
Echo & the Bunnymen,
Lou Reed,
Jawbox,
Television Personalities,
The Tremeloes,
Erykah Badu,
Roxy Music,
Alphaville,
Make Up,
Angels of Light & Akron/Family,
Grandmaster Flash and the Furious Five,
John Cale,
Rufus Thomas,
Sound Behaviour,
Delon & Dalcan,
Blake Baxter,
Roger Hodgson,
Rod Modell,
The Evens,
Marmalade,
The West Coast Pop Art Experimental Band,
Ultra Naté,
The Techniques,
Amon Düül,
F. McDonald,
Eric B and Rakim,
Symarip,
Brand Nubian,
Second Layer,
Agent Orange,
Wighnomy Brothers & Robag Wruhme,
The Red Krayola,
Marcia Griffiths,
Rekid,
Notorious BIG live in Amsterdam,
Saccharine Trust,
Eden Ahbez,
Lower 48,
X-Ray Spex,
Aswad,
Accadde A,
Howard Jones,
Fatback Band,
Louis and Bebe Barron,
Technova,
Con Funk Shun,
Youth Brigade,
The Fortunes,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.