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 Ivory Coast and from Mexico City.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 marimba 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 Saccharine Trust to the jazz 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 The Smiths. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every The Shadows of Knight 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 '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Public Image Ltd.,
Youth Brigade,
The Gladiators,
Eric Copeland,
Chrome,
Con Funk Shun,
The Searchers,
Kurtis Blow,
Avey Tare's Slasher Flicks,
Wire,
Sugar Minott,
Roger Hodgson,
Goldenarms,
The J.B.'s,
Don Cherry,
Yellowson,
Lou Reed & Metallica,
Tropical Tobacco,
Scratch Acid,
Alison Limerick,
Bobby Hutcherson,
Visage,
The Busters,
Massinfluence,
Arcadia,
The Shadows of Knight,
DJ Sneak,
the Bar-Kays,
Fat Boys,
Scan 7,
Jeff Lynne,
Clear Light,
Average White Band,
Severed Heads,
David McCallum,
Jandek,
Archie Shepp,
Cabaret Voltaire,
Larry & the Blue Notes,
Angels of Light & Akron/Family,
Suburban Knight,
Lungfish,
Aswad,
Groovy Waters,
A Flock of Seagulls,
Slave,
Pussy Galore,
Black Moon,
Boredoms,
Ultimate Spinach,
Laurel Aitken,
Newcleus,
Soft Machine,
Parry Music,
Deutsch Amerikanische Freundschaft,
The Raincoats,
Ornette Coleman,
John Cale,
Stetsasonic,
Max Romeo,
Kevin Saunderson,
Mad Mike,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.