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 Hungary and from Manila.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Edmonton 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 güiro sounds with much patience.
I was there when David Bowie 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 Modern Lovers to the grunge 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 Zero Boys. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Lou Christie,
Marmalade,
Bobby Byrd,
Gang Starr,
Roy Ayers,
Dorothy Ashby,
Rakim,
Big Daddy Kane,
Heaven 17,
Joe Smooth,
Charles Mingus,
Fifty Foot Hose,
The Moleskins,
T. Rex,
Terrestrial Tones,
Qualms,
The Music Machine,
The Flesh Eaters,
OOIOO,
Janne Schatter,
the Germs,
Duran Duran,
Godley & Creme,
Desert Stars,
Franke,
Echospace,
Judy Mowatt,
The Busters,
The Neon Judgement,
Iggy Pop,
Oblivians,
X-102,
The Doobie Brothers,
the Association,
Radio Birdman,
Kaleidoscope,
Cal Tjader,
Panda Bear,
Lyres,
Country Teasers,
Sad Lovers and Giants,
Scientists,
John Cale,
Television Personalities,
L. Decosne,
Sunsets and Hearts,
R.M.O.,
Fatback Band,
Public Image Ltd.,
Man Eating Sloth,
Von Mondo,
Pylon,
Henry Cow,
Grandmaster Flash and the Furious Five,
John Lydon,
48th St. Collective,
China Crisis,
Gichy Dan,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.