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 Lebanon and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Tokyo 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 marimba 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 Andrew Hill to the funk 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 Lizzy Mercier Descloux. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Das Ding,
Warren Ellis,
Sight & Sound,
Camouflage,
Scott Walker,
Kool Moe Dee,
Deepchord,
Arthur Verocai,
Minor Threat,
Kevin Saunderson,
Andrew Hill,
Pylon,
Guru Guru,
MC5,
Bronski Beat,
Bluetip,
The Standells,
Dawn Penn,
H. Thieme,
Stiv Bators,
John Lydon,
UT,
Jacques Brel,
Wire,
Man Parrish,
the Normal,
The Trojans,
the Association,
Urselle,
Brick,
Sex Pistols,
Easy Going,
The Dave Clark Five,
The J.B.'s,
Lakeside,
The Barracudas,
Oppenheimer Analysis,
The Associates,
X-102,
The Men They Couldn't Hang,
The Residents,
Maleditus Sound,
T. Rex,
Sandy B,
Intrusion,
Bang On A Can,
The American Breed,
The Fortunes,
Rakim,
New York Dolls,
Roy Ayers Ubiquity,
Idris Muhammad,
8 Eyed Spy,
David Axelrod,
JFA,
Ultravox,
The Knickerbockers,
Man Eating Sloth,
Au Pairs,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.