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 Venezuela and from Halifax.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Main Source to the dance 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 The Cosmic Jokers. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Cowsills 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Stiv Bators,
Mr. Review,
Deutsch Amerikanische Freundschaft,
The Victims,
Red Lorry Yellow Lorry,
Nick Fraelich,
Gil Scott-Heron and Jamie xx,
Carl Craig,
UT,
Fat Boys,
The Sonics,
Bobby Womack,
Moby Grape,
Jacques Brel,
Erasure,
Larry & the Blue Notes,
Jeff Mills,
Warsaw,
the Sonics,
The Electric Prunes,
Mantronix,
Harpers Bizarre,
The Knickerbockers,
Marcia Griffiths,
Livin' Joy,
Johnny Osbourne,
Eric Copeland,
Gang of Four,
Delon & Dalcan,
Con Funk Shun,
Mo-Dettes,
Deepchord,
The Martian,
David Bowie,
Robert Görl,
Sun City Girls,
Motorama,
The Moody Blues,
JFA,
Bluetip,
Flash Fearless,
Lou Reed & John Cale,
Colin Newman,
Wally Richardson,
The Evens,
Public Enemy,
The Litter,
Black Sheep,
Althea and Donna,
FM Einheit,
Ice-T,
Ohio Players,
Hoover,
The Chocolate Watch Band,
Kerri Chandler,
Chrome,
Bill Near, Bill Near, Bill Near, Bill Near.
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.