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 Mauritania and from Tehran.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school New York 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 N.O.R.E. Featuring Pharrell to the techno kids.
I played it at the Roxy.
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 Rhythim Is Rhythim. All the underground hits.
All Faust tracks. I heard you have a vinyl of every The Last Poets 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
The Music Machine,
Underground Resistance,
The Smiths,
The Busters,
Spoonie Gee,
Animal Collective,
Moebius,
Dave Gahan,
Fort Wilson Riot,
The Move,
London Community Gospel Choir,
8 Eyed Spy,
The Moleskins,
The Names,
Drive Like Jehu,
The Detroit Cobras,
Technova,
Jacob Miller,
Crispy Ambulance,
Grauzone,
Jimmy McGriff,
The Happenings,
Ludus,
Gastr Del Sol,
Ultravox,
Masters at Work,
Massinfluence,
the Bar-Kays,
The Cosmic Jokers,
The Five Americans,
Guru Guru,
Fad Gadget,
Dark Day,
The Velvet Underground,
Lindisfarne,
Eric Copeland,
Gabor Szabo,
Pete Rock & C.L. Smooth,
The Golliwogs,
Grandmaster Flash,
Tomorrow,
Qualms,
New York Dolls,
The Count Five,
Excepter,
Average White Band,
Laurel Aitken,
The Gap Band,
Alison Limerick,
Maleditus Sound,
Lyres,
Essential Logic,
Skriet,
Rahsaan Roland Kirk,
Cameo,
Deadbeat,
Sällskapet,
Kings Of Tomorrow,
The Dave Clark Five,
The Martian,
Index, Index, Index, Index.
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.