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 Turkey and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 güiro 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 The Men They Couldn't Hang to the jazz 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 Sunsets and Hearts. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
David McCallum,
Cabaret Voltaire,
Albert Ayler,
Ronan,
Newcleus,
Barry Ungar,
Outsiders,
Tubeway Army,
Fugazi,
Jeff Mills,
Ituana,
Alphaville,
Hot Snakes,
London Community Gospel Choir,
Duran Duran,
Bootsy's Rubber Band,
T. Rex,
Can,
Swell Maps,
Tom Boy,
Circle Jerks,
Suburban Knight,
Rowland S Howard / Lydia Lunch,
Rhythim Is Rhythim,
the Slits,
Make Up,
Talk Talk,
Crooked Eye,
Moby Grape,
Fluxion,
Gabor Szabo,
Pole,
The Toasters,
Ultravox,
Joensuu 1685,
Ice-T,
Gang Green,
John Foxx,
Althea and Donna,
The Move,
Yaz,
The Walker Brothers,
Prince Buster,
Youth Brigade,
Peter Gordon & Love of Life Orchestra,
Electric Prunes,
Sonny Sharrock,
Dorothy Ashby,
Mark Hollis,
Au Pairs,
Scott Walker,
Organ,
Gil Scott-Heron and Jamie xx,
Desert Stars,
Joyce Sims,
Schoolly D,
Bootsy Collins,
Andrew Ashong & Theo Parrish,
The Gories, The Gories, The Gories, The Gories.
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.