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 Haiti and from Copenhagen.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Seoul.
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 sitar 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 The Electric Prunes to the dance 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 Malaria!. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal electroclash 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 a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
The Toasters,
Brick,
Tom Boy,
Cluster,
Harmonia,
Cymande,
Soft Machine,
Lou Reed,
June Days,
Black Moon,
a-ha,
Moebius,
OOIOO,
Charles Mingus,
Tears for Fears,
The Angels of Light,
Mark Hollis,
The Remains,
Mr. Review,
X-101,
The Durutti Column,
Kas Product,
Spandau Ballet,
Moby Grape,
Section 25,
Easy Going,
Fifty Foot Hose,
The Residents,
Groovy Waters,
Kings Of Tomorrow,
Bobby Byrd,
Amon Düül,
Gang Green,
Ultravox,
The Leaves,
This Heat,
Radiohead,
Colin Newman,
Minutemen,
Bang On A Can,
Hot Snakes,
Roy Ayers Ubiquity,
Tropical Tobacco,
Notorious Big And Bone Thugs,
Kool G Rap & DJ Polo,
Selector Dub Narcotic,
Funkadelic,
Zapp,
Robert Hood,
Lou Reed & Metallica,
Beasts of Bourbon,
Rhythm & Sound,
Liliput,
Ultimate Spinach,
the Sonics,
Jacob Miller,
Rites of Spring,
Niagra,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.