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 Panama 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 1966 to 1976.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Accra 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 guitar sounds with much patience.
I was there when Lou Reed 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 Hashim to the disco kids.
I played it at the Crocodile.
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 Liliput. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal techno 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 arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Slits,
Scott Walker,
Shuggie Otis,
The Sisters of Mercy,
Amazonics,
The Techniques,
John Coltrane,
Joey Negro,
Grauzone,
Sad Lovers and Giants,
Barbara Tucker,
The Vogues,
Toni Rubio,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Man Eating Sloth,
Donny Hathaway,
Flamin' Groovies,
the Fania All-Stars,
Bang on a Can All-Stars,
Soul Sonic Force,
Deutsch Amerikanische Freundschaft,
The Divine Comedy,
Frankie Knuckles,
Pantytec,
Zapp,
Vladislav Delay,
Sixth Finger,
Pussy Galore,
Harry Pussy,
Buzzcocks,
Minny Pops,
Laurel Aitken,
Dead Boys,
Zero Boys,
Mantronix,
Mo-Dettes,
Wasted Youth,
Sly & The Family Stone,
Nas,
Sam Rivers,
A Flock of Seagulls,
Harpers Bizarre,
Stereo Dub,
Fluxion,
Oppenheimer Analysis,
The Moleskins,
Leonard Cohen,
Oneida,
Joyce Sims,
Funkadelic,
These Immortal Souls,
Loose Ends,
Q and Not U,
Echo & the Bunnymen,
Alton Ellis,
Scion,
James White and The Blacks,
Ultravox,
Crash Course in Science,
The Fuzztones,
cv313,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.