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 Sudan and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 United States of America to the punk 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 Technova. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Gerry Rafferty,
The Cosmic Jokers,
Swell Maps,
Dr. Dre and Snoop Doggy Dog,
Television,
MC5,
Cal Tjader,
Hoover,
Erasure,
48th St. Collective,
Young Marble Giants,
Banda Bassotti,
Richard Hell and the Voidoids,
Camberwell Now,
Jerry's Kids,
Yellowson,
Eurythmics,
Donald Byrd,
Darondo,
Intrusion,
Jandek,
Harpers Bizarre,
Harry Pussy,
Radio Birdman,
June of 44,
Trumans Water,
Gian Franco Pienzio,
Jacques Brel,
Boz Scaggs,
Cymande,
Hardrive,
Iggy Pop,
Godley & Creme,
Silicon Teens,
Von Mondo,
Neil Young,
Mo-Dettes,
Stiv Bators,
Grauzone,
Bang On A Can,
Neu!,
Ohio Players,
Thee Headcoats,
David Bowie,
In Retrospect,
Quantec,
X-102,
The Doobie Brothers,
The Index,
Pharoah Sanders,
The Jesus and Mary Chain,
The Seeds,
Aural Exciters,
Technova,
The Names,
Selector Dub Narcotic,
John Cale,
Amon Düül II,
Kurtis Blow,
Lakeside,
Circle Jerks,
DeepChord presents Echospace,
Monolake, Monolake, Monolake, Monolake.
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.