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 China and from Accra.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Taipei 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 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 Icehouse to the crunk 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 Derrick May. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Wighnomy Brothers & Robag Wruhme,
10cc,
John Coltrane,
Black Flag,
The Wake,
Aural Exciters,
The United States of America,
Rakim,
Q and Not U,
The Birthday Party,
Soft Machine,
The Names,
June Days,
Saccharine Trust,
Rufus Thomas,
The Selecter,
The West Coast Pop Art Experimental Band,
Schoolly D,
Depeche Mode,
Echo & the Bunnymen,
Royal Trux,
Derrick Morgan,
Jesper Dahlbäck,
Barbara Tucker,
It's A Beautiful Day,
Laurel Aitken,
Danielle Patucci,
Chris Corsano,
Tomorrow,
Bobby Byrd,
Malaria!,
The Slits,
The Alarm Clocks,
Jandek,
Bang On A Can,
Skriet,
Lee Hazlewood,
The Leaves,
Marshall Jefferson,
Boredoms,
Duran Duran,
DNA,
Barry Ungar,
Joe Finger,
Amon Düül,
Hashim,
Steve Hackett,
Fad Gadget,
Pantytec,
Andrew Hill,
Bootsy's Rubber Band,
The Move,
Little Man,
Gian Franco Pienzio,
U.S. Maple,
Letta Mbulu,
The Peanut Butter Conspiracy,
DJ Style,
Sällskapet,
R.M.O., R.M.O., R.M.O., R.M.O..
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.