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 Turkmenistan and from Glasgow.
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 Edmonton and Bremen.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Ronan to the electroclash kids.
I played it at the Spitz.
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 Leonard Cohen. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every The Neon Judgement 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
James White and The Blacks,
Freddie Wadling,
Livin' Joy,
The Moleskins,
Andrew Ashong & Theo Parrish,
Japan,
The Wake,
Depeche Mode,
Albert Ayler,
The Remains,
ABBA,
Dorothy Ashby,
Pet Shop Boys,
The Invisible,
The West Coast Pop Art Experimental Band,
Al Stewart,
Average White Band,
Amon Düül II,
Be Bop Deluxe,
Tommy Roe,
Alphaville,
The Sound,
Arthur Verocai,
kango's stein massive,
Sister Nancy,
Marcia Griffiths,
De La Soul & Jungle Brothers,
Crash Course in Science,
Gregory Isaacs,
Thompson Twins,
Eve St. Jones,
Sparks,
The Walker Brothers,
Lebanon Hanover,
The Durutti Column,
Morten Harket,
Nick Fraelich,
Davy DMX,
Lindisfarne,
Symarip,
The Grass Roots,
Wolf Eyes,
Eddi Front,
The Buckinghams,
Liaisons Dangereuses,
Eric Copeland,
Boogie Down Productions,
Strawberry Alarm Clock,
Susan Cadogan,
Underground Resistance,
Radiohead,
Bizarre Inc.,
Deakin,
Slick Rick,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
Y Pants,
The Slackers,
AZ,
The Associates,
Joey Negro,
The Star Department,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.