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 Bolivia and from Delhi.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Suicide to the jazz kids.
I played it at Trash.
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 Rotary Connection. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Tres Demented 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Inner City,
Marc Almond,
Notorious BIG live in Amsterdam,
Teenage Jesus and the Jerks,
The Blackbyrds,
The Toasters,
Justin Hinds & The Dominoes,
Iggy Pop,
48th St. Collective,
Metal Thangz,
Franke,
Japan,
Q and Not U,
The Martian,
Rites of Spring,
Ultravox,
Peter & Gordon,
R.M.O.,
Siglo XX,
Oppenheimer Analysis,
Saccharine Trust,
Adolescents,
Pantaleimon,
Charles Mingus,
Rosa Yemen,
Don Cherry,
Monks,
Organ,
Connie Case,
Visage,
The Mojo Men,
Curtis Mayfield,
Yazoo,
Quadrant,
Can,
The Moody Blues,
the Bar-Kays,
Bob Dylan,
The Human League,
Lou Reed & John Cale,
Chrome,
Barry Ungar,
The Doobie Brothers,
Duran Duran,
Byron Stingily,
Sällskapet,
Ultra Naté,
Heaven 17,
Amon Düül,
Black Sheep,
Swell Maps,
Parry Music,
MDC,
Erykah Badu,
Bobby Sherman,
The Modern Lovers,
The Pop Group,
Bootsy's Rubber Band,
Blancmange,
The Men They Couldn't Hang,
Lou Reed & Metallica,
Aswad, Aswad, Aswad, Aswad.
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.