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 Bulgaria and from Lille.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 Khruangbin to the crunk kids.
I played it at Trash.
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 Unrelated Segments. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Desert Stars,
Underground Resistance,
Tommy Roe,
Country Teasers,
Von Mondo,
Peter and Kerry,
Iggy Pop,
Shoche,
Rakim,
Morten Harket,
Jeff Mills,
Sight & Sound,
Crispian St. Peters,
Barclay James Harvest,
Brick,
Bang on a Can All-Stars,
Grandmaster Flash,
The Count Five,
Reuben Wilson,
Rhythm & Sound,
Lebanon Hanover,
Depeche Mode,
Outsiders,
Severed Heads,
Barrington Levy,
Black Bananas,
Leonard Cohen,
Anthony Braxton,
Sun Ra Arkestra,
Crime,
Blake Baxter,
The Black Dice,
Colin Newman,
Tears for Fears,
The Move,
Bang On A Can,
The Cramps,
Ash Ra Tempel,
The Kinks,
Quando Quango,
Ultramagnetic MC's,
Minny Pops,
Scratch Acid,
Bauhaus,
Duran Duran,
The Alarm Clocks,
Deepchord,
Gerry Rafferty,
Amon Düül,
10cc,
Public Image Ltd.,
Scott Walker,
Al Stewart,
The Royal Family And The Poor,
Drive Like Jehu,
Black Moon,
Glambeats Corp.,
Wighnomy Brothers & Robag Wruhme,
Das Ding,
Bootsy's Rubber Band,
Icehouse,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.