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 Armenia and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Manila 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 1976 at the first Wire practice in a loft in Watford.
I was working on the snare 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 Flamin' Groovies to the jazz kids.
I played it at the Roxy.
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 Pere Ubu. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Janne Schatter 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 '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
KRS-One,
Siouxsie and the Banshees,
The Cramps,
Roy Ayers,
Michelle Simonal,
The Durutti Column,
The Index,
Barbara Tucker,
Dead Boys,
Aural Exciters,
Gary Puckett & The Union Gap,
Gil Scott-Heron & Brian Jackson,
Pole,
The Neon Judgement,
Tommy Roe,
Fluxion,
Iggy Pop,
Tubeway Army,
Toni Rubio,
Lou Reed & Metallica,
Traffic Nightmare,
This Heat,
Thompson Twins,
The Skatalites,
Rowland S Howard / Lydia Lunch,
The Motions,
The Buckinghams,
Model 500,
Television,
the Swans,
Deakin,
Bang on a Can All-Stars,
Soulsonic Force,
Little Man,
Subhumans,
Negative Approach,
Marc Romboy vs. Booka Shade,
Bill Near,
Television Personalities,
Grandmaster Flash,
Agent Orange,
Eden Ahbez,
Henry Cow,
Gastr Del Sol,
Newcleus,
Ash Ra Tempel,
Stiv Bators,
The Dead C,
Alison Limerick,
Skaos,
Yaz,
Dawn Penn,
David Axelrod,
The Real Kids,
Thee Headcoats,
Country Joe & The Fish,
Darondo,
MDC,
Kenny Larkin,
Can, Can, Can, Can.
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.