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 Bahrain and from Glasgow.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Bologna.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator 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 Chris & Cosey to the funk kids.
I played it at the Hacienda.
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 Graham Central Station. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Byron Stingily 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Pagans,
Letta Mbulu,
Brick,
Junior Murvin,
Andrew Ashong & Theo Parrish,
Josef K,
Can,
The Trojans,
Selector Dub Narcotic,
Fear,
The Gories,
Sixth Finger,
Sticky Fingaz feat. Raekwon,
Lou Christie,
Rod Modell,
Scientists,
Los Fastidios,
The Divine Comedy,
Scrapy,
Eli Mardock,
Boz Scaggs,
Cymande,
Jeff Lynne,
Angels of Light & Akron/Family,
The Martian,
The Star Department,
The Cowsills,
Masters at Work,
Stereo Dub,
Intrusion,
The Invisible,
The Detroit Cobras,
Gang Starr,
Nas,
The Toasters,
Manfred Mann's Earth Band,
Khruangbin,
Joe Smooth,
Aloha Tigers,
Ludus,
Angry Samoans,
Vaughan Mason & Crew,
Rowland S Howard / Lydia Lunch,
One Last Wish,
Kerrie Biddell,
The Men They Couldn't Hang,
Barry Ungar,
The Young Rascals,
The Grass Roots,
Parry Music,
Lindisfarne,
Basic Channel,
Groovy Waters,
The Tremeloes,
Scott Walker,
John Foxx,
Underground Resistance,
Jerry Gold Smith,
The Angels of Light,
Clear Light,
Idris Muhammad,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.