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 Zambia and from Paris.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 UT 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 Kings Of Tomorrow. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
The Star Department,
Pantytec,
F. McDonald,
Simply Red,
The Walker Brothers,
Brand Nubian,
The Moleskins,
Laurel Aitken,
Rufus Thomas,
The Smiths,
Roxette,
Clear Light,
Public Enemy,
Sight & Sound,
Don Cherry,
Mantronix,
Negative Approach,
Idris Muhammad,
Jeff Lynne,
Neu!,
Sex Pistols,
Jacques Brel,
Gong,
Oblivians,
Section 25,
Gang of Four,
Graham Central Station,
The Gladiators,
The Sound,
The Remains,
The Slits,
Organ,
The Fall,
Blossom Toes,
Nation of Ulysses,
Absolute Body Control,
The Monks,
The Music Machine,
Bootsy Collins,
Scan 7,
Smog,
Franke,
Beasts of Bourbon,
These Immortal Souls,
Sun Ra,
Peter and Kerry,
Moss Icon,
Robert Hood,
Deepchord,
The Chocolate Watch Band,
The Offenders,
The Cramps,
Minnie Riperton,
John Coltrane,
Rakim,
Eurythmics,
Bobby Sherman,
Audionom,
Lebanon Hanover,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jimmy McGriff,
Gang Gang Dance,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.