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 South Africa and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Seoul 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 Robert Palmer 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 Patti Smith to the techno 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 Robert Wyatt. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Country Teasers 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Lakeside,
Captain Beefheart & His Magic Band,
Babytalk,
The Misunderstood,
Slave,
Trumans Water,
The Birthday Party,
The Men They Couldn't Hang,
Joe Finger,
Make Up,
Hot Snakes,
Joyce Sims,
Eden Ahbez,
Wolf Eyes,
B.T. Express,
Yaz,
The Victims,
Quantec,
Gian Franco Pienzio,
Mr. Review,
Sparks,
Jeff Lynne,
Bill Wells,
Drexciya,
Camron Feat. Jay Z And Juelz,
The United States of America,
Throbbing Gristle,
the Sonics,
Dead Boys,
Ludus,
Scratch Acid,
Rekid,
Amazonics,
David Axelrod,
Ronnie Foster,
DNA,
The West Coast Pop Art Experimental Band,
Little Man,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
Chris Corsano,
The Fuzztones,
Grauzone,
The Blues Magoos,
Gang of Four,
48th St. Collective,
Pantytec,
Brand Nubian,
K-Klass,
Bluetip,
the Association,
Bobby Byrd,
Japan,
Minutemen,
Liliput,
The Sonics,
Sällskapet,
Urselle,
Glenn Branca,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.