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 Norway and from Spokane.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Mary Jane Girls to the funk kids.
I played it at the Troubador.
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 Accadde A. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
X-101,
Lee Hazlewood,
Louis and Bebe Barron,
Lindisfarne,
Roger Hodgson,
Hasil Adkins,
Girls At Our Best!,
Bauhaus,
The Durutti Column,
Rosa Yemen,
Fugazi,
Leonard Cohen,
Fear,
Rhythm & Sound,
Bootsy Collins,
Von Mondo,
Jerry Gold Smith,
Joey Negro,
The Monks,
Warren Ellis,
The Detroit Cobras,
Kas Product,
The Slits,
The Real Kids,
Ituana,
The Gladiators,
Matthew Halsall,
Tommy Roe,
Television,
Heavy D & The Boyz,
Janne Schatter,
Gil Scott-Heron and Jamie xx,
Los Fastidios,
CMW,
Schoolly D,
MDC,
Echospace,
Throbbing Gristle,
Roxette,
Flash Fearless,
Eric Copeland,
Mars,
The Moleskins,
The Gun Club,
Mary Jane Girls,
Laurel Aitken,
Cybotron,
Organ,
Terror Squad Feat. Camron,
Blancmange,
Aswad,
Cymande,
Patti Smith,
The Alarm Clocks,
Vladislav Delay,
Carl Craig,
Liaisons Dangereuses,
Rapeman,
The Five Americans,
Jerry's Kids,
Gary Puckett & The Union Gap,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.