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 Ireland 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 1967 to 1974.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 The Martian to the dance 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 Fania All-Stars. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Pantytec,
The Music Machine,
Bauhaus,
The Cramps,
Lonnie Liston Smith,
Subhumans,
Cecil Taylor,
Fat Boys,
Yusef Lateef,
Lou Reed,
MDC,
Amon Düül II,
Jeff Lynne,
Country Joe & The Fish,
James White and The Blacks,
Severed Heads,
Joe Finger,
Boredoms,
Notorious Big And Bone Thugs,
Gil Scott Heron,
Flamin' Groovies,
Scratch Acid,
Theoretical Girls,
Zapp,
New York Dolls,
Massinfluence,
Arcadia,
It's A Beautiful Day,
Roy Ayers Ubiquity,
The Tremeloes,
Tommy Roe,
Pylon,
Juan Atkins,
EPMD,
Crash Course in Science,
Magazine,
The Human League,
Pussy Galore,
Barclay James Harvest,
Black Flag,
Negative Approach,
Neil Young,
L. Decosne,
Minor Threat,
Roxy Music,
Qualms,
Selector Dub Narcotic,
Angels of Light & Akron/Family,
Notorious BIG live in Amsterdam,
Boz Scaggs,
Gil Scott-Heron & Brian Jackson,
The Moody Blues,
The Dirtbombs,
Harmonia,
The Velvet Underground,
Sun Ra Arkestra,
Johnny Clarke,
Danielle Patucci,
Bang on a Can All-Stars,
Louis and Bebe Barron,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.