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 El Salvador and from Columbus.
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 1978.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Lyon 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Junior Murvin to the techno kids.
I played it at the Hacienda.
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 Ituana. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Laurel Aitken 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Orchestral Manoeuvres in the Dark,
David McCallum,
Mars,
kango's stein massive,
Cabaret Voltaire,
Fad Gadget,
Don Cherry,
Black Pus,
The Fuzztones,
Eyeless In Gaza,
The Cosmic Jokers,
B.T. Express,
Soul Sonic Force,
The Slackers,
Fifty Foot Hose,
Deepchord,
Vaughan Mason & Crew,
Iggy Pop,
Grandmaster Flash and the Furious Five,
Notorious Big And Bone Thugs,
F. McDonald,
Aaron Thompson,
Cal Tjader,
Nirvana,
Tommy Roe,
Kings Of Tomorrow,
Index,
Scrapy,
June of 44,
10cc,
Brothers Johnson,
Skriet,
Sound Behaviour,
Smog,
Nick Cave & The Bad Seeds,
Rotary Connection,
The Five Americans,
Amazonics,
Teenage Jesus and the Jerks,
Joensuu 1685,
Adolescents,
Johnny Clarke,
The Shadows of Knight,
Nas,
Joe Smooth,
The Durutti Column,
The Stooges,
Banda Bassotti,
Roger Hodgson,
Judy Mowatt,
The United States of America,
Tomorrow,
Kayak,
Angels of Light & Akron/Family,
Subhumans,
Moebius,
Strawberry Alarm Clock,
Hardrive,
Sun Ra Arkestra,
Pulsallama,
James White and The Blacks,
Clear Light, Clear Light, Clear Light, Clear Light.
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.