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 Korea North and from Shanghai.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Mexico City 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 Ultravox to the punk 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 Sugar Minott. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Bill Near,
Jeff Mills,
the Swans,
Nico,
Agitation Free,
Mantronix,
Animal Collective,
Sight & Sound,
Alison Limerick,
Desert Stars,
Dorothy Ashby,
Loose Ends,
Fat Boys,
Popol Vuh,
Brass Construction,
Gian Franco Pienzio,
Stiv Bators,
Sugar Minott,
The Doors,
The Sonics,
Scrapy,
The Beau Brummels,
Moss Icon,
Yazoo,
Gastr Del Sol,
Marine Girls,
Heaven 17,
Second Layer,
Spoonie Gee,
Gil Scott Heron,
MDC,
Franke,
Gang Green,
Tubeway Army,
E-Dancer,
Underground Resistance,
The Fuzztones,
Pantytec,
Marshall Jefferson,
Nik Kershaw,
The Motions,
Swans,
Kerri Chandler,
Mars,
Jeff Lynne,
DeepChord presents Echospace,
Sad Lovers and Giants,
DNA,
The United States of America,
Metal Thangz,
Connie Case,
The Smiths,
Ultravox,
Stereo Dub,
Section 25,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
Letta Mbulu,
Robert Görl,
Quadrant,
Ludus,
D'Angelo,
Procol Harum,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.