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 Thailand and from Jakarta.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Beijing 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Lightning Bolt to the rap kids.
I played it at the 40 Watt.
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 Glenn Branca. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The Vogues,
Glenn Branca,
Eden Ahbez,
Spandau Ballet,
Quadrant,
Electric Light Orchestra,
Desert Stars,
Pierre Henry,
the Swans,
Tom Boy,
The Velvet Underground,
Jandek,
The Young Rascals,
Drexciya,
Main Source,
Donny Hathaway,
Piero Umiliani,
Judy Mowatt,
Sun City Girls,
World's Most,
Cabaret Voltaire,
Pere Ubu,
Freddie Wadling,
Joyce Sims,
The Walker Brothers,
Sight & Sound,
Toni Rubio,
Avey Tare,
Mars,
Archie Shepp,
Aaron Thompson,
Marc Romboy vs. Booka Shade,
The New Christs,
Anthony Braxton,
K-Klass,
Peter & Gordon,
Japan,
the Fania All-Stars,
The Misunderstood,
The Cramps,
Fear,
Delon & Dalcan,
Zapp,
Amazonics,
Tomorrow,
The United States of America,
Masters at Work,
Intrusion,
The Five Americans,
Terrestrial Tones,
The Slits,
Roxy Music,
Kerri Chandler,
Minny Pops,
Wighnomy Brothers & Robag Wruhme,
Oneida,
Thompson Twins,
David McCallum,
Graham Central Station,
Lyres,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.