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 Belize and from Sao Paulo.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when David Bowie 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 Erasure to the techno kids.
I played it at the Crocodile.
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 Stereo Dub. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Swell Maps,
Visage,
The New Christs,
Rites of Spring,
Hardrive,
Dark Day,
Graham Central Station,
Lindisfarne,
Dead Boys,
L. Decosne,
Kerri Chandler,
The Men They Couldn't Hang,
Jawbox,
John Coltrane,
Sexual Harrassment,
Fat Boys,
The Moleskins,
Basic Channel,
Blake Baxter,
Orchestral Manoeuvres in the Dark,
Crime,
Josef K,
The Doors,
Jacques Brel,
Zero Boys,
Japan,
The Litter,
The Divine Comedy,
Kas Product,
Easy Going,
Cymande,
Quando Quango,
Livin' Joy,
a-ha,
Lou Christie,
Quadrant,
Minnie Riperton,
Symarip,
Dual Sessions,
In Retrospect,
Howard Jones,
Qualms,
Gastr Del Sol,
Magma,
The Detroit Cobras,
Letta Mbulu,
Deutsch Amerikanische Freundschaft,
Pantytec,
Althea and Donna,
Robert Görl,
Steve Hackett,
Country Joe & The Fish,
Circle Jerks,
Prince Buster,
The Trojans,
Pharaoh Sanders and the Fire Engines,
Gichy Dan,
Pere Ubu,
Sun City Girls,
Sunsets and Hearts,
The Fortunes,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.