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 Macedonia and from Hong Kong.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Accra 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Albert Ayler to the electroclash 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 Little Man. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Ponytail 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
The Fire Engines,
Soft Cell,
Ralphi Rosario,
Skriet,
Bauhaus,
Brick,
Wighnomy Brothers & Robag Wruhme,
The Detroit Cobras,
James White and The Blacks,
Arab on Radar,
Gang Green,
Oblivians,
Pere Ubu,
Howard Jones,
Al Stewart,
David Bowie,
The Fall,
Sam Rivers,
Lalo Schifrin,
The Invisible,
Traffic Nightmare,
Justin Hinds & The Dominoes,
Interpol,
Rakim,
Banda Bassotti,
Orchestral Manoeuvres in the Dark,
Tom Boy,
The Smoke,
Brothers Johnson,
World's Most,
Alison Limerick,
Lalann,
Ponytail,
The Kinks,
Black Pus,
The Monks,
Bootsy Collins,
The Walker Brothers,
Fifty Foot Hose,
Shoche,
Josef K,
Connie Case,
Crime,
Depeche Mode,
Kenny Larkin,
Kauko Röyhkä ja Narttu,
Sight & Sound,
The Velvet Underground,
The Cramps,
Archie Shepp,
The Star Department,
Mo-Dettes,
Fatback Band,
These Immortal Souls,
Second Layer,
Aural Exciters,
The Techniques,
Rekid,
The Wake,
Big Daddy Kane,
Iggy Pop,
Saccharine Trust,
Hashim, Hashim, Hashim, Hashim.
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.