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 Monaco and from Lagos.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 Jesper Dahlback to the rock kids.
I played it at the Astoria.
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 Silicon Teens. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
The Fire Engines,
Barrington Levy,
Vladislav Delay,
Alison Limerick,
The New Christs,
X-101,
John Holt,
Captain Beefheart & His Magic Band,
Gang of Four,
Janne Schatter,
The Electric Prunes,
Blancmange,
Todd Rundgren,
The Mighty Diamonds,
Tim Buckley,
Icehouse,
Easy Going,
Fugazi,
Bootsy's Rubber Band,
Hot Snakes,
These Immortal Souls,
Rhythim Is Rhythim,
London Community Gospel Choir,
Tres Demented,
the Human League,
Porter Ricks,
Tomorrow,
Godley & Creme,
The Move,
Louis and Bebe Barron,
Stiv Bators,
Gang Green,
Morten Harket,
Theoretical Girls,
Sonny Sharrock,
The Fugs,
U.S. Maple,
Suicide,
Sparks,
The Doors,
Marine Girls,
Juan Atkins,
Camouflage,
Negative Approach,
Zapp,
Oneida,
Crooked Eye,
Henry Cow,
Richard Hell and the Voidoids,
Interpol,
The Birthday Party,
Country Joe & The Fish,
Kango’s Stein Massive,
Black Pus,
Masters at Work,
Duran Duran,
Gil Scott Heron,
The Searchers,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.