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 Solomon Islands and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Toronto 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 808 sounds with much patience.
I was there when Michael McDonald 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 T.S.O.L. to the funk kids.
I played it at the Astoria.
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 Doobie Brothers. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every a-ha 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
The Raincoats,
The Searchers,
Susan Cadogan,
Dark Day,
Leonard Cohen,
The Fugs,
Michelle Simonal,
Bronski Beat,
Electric Light Orchestra,
Stereo Dub,
Electric Prunes,
Wally Richardson,
Magazine,
One Last Wish,
Kool G Rap & DJ Polo,
Slick Rick,
Joe Finger,
Dave Gahan,
Yazoo,
The Velvet Underground,
Aswad,
Dorothy Ashby,
The Pop Group,
Lou Reed & John Cale,
KRS-One,
Schoolly D,
Cal Tjader,
Metal Thangz,
Black Pus,
Loose Ends,
Magma,
Scion,
Nico,
Chris Corsano,
The Cosmic Jokers,
June of 44,
Larry & the Blue Notes,
10cc,
Tropical Tobacco,
The Cowsills,
London Community Gospel Choir,
Ossler,
Bobby Byrd,
The Motions,
Wasted Youth,
the Association,
The Pretty Things,
Alice Coltrane,
Todd Terry,
Oneida,
Surgeon,
Flash Fearless,
Monks,
Ultra Naté,
AZ,
The Dirtbombs,
The Durutti Column,
The Gun Club,
Scratch Acid,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.