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 Singapore and from Tehran.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Inner City to the rock 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 Isaac Hayes. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Slits,
Strawberry Alarm Clock,
Sister Nancy,
Monks,
Cymande,
LL Cool J,
Ice-T,
Ultramagnetic MC's,
The Sonics,
Fugazi,
MDC,
DNA,
Sparks,
Tubeway Army,
Alton Ellis,
The Victims,
The Fire Engines,
Richard Hell and the Voidoids,
the Slits,
A Certain Ratio,
The Mummies,
Sarah Menescal,
Average White Band,
Soft Machine,
Pylon,
Todd Terry,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
Pharoah Sanders,
The Modern Lovers,
Aswad,
The Men They Couldn't Hang,
Godley & Creme,
Larry & the Blue Notes,
Schoolly D,
the Germs,
AZ,
Crime,
the Human League,
Arcadia,
Sight & Sound,
Minny Pops,
The Techniques,
Mad Mike,
Unwound,
Maurizio,
Roy Ayers Ubiquity,
The Move,
Jacques Brel,
Andrew Ashong & Theo Parrish,
Althea and Donna,
Y Pants,
Saccharine Trust,
Marc Romboy vs. Booka Shade,
Funky Four + One,
John Holt,
Pet Shop Boys,
Bobby Sherman,
Jandek,
Angry Samoans,
F. McDonald,
Leonard Cohen,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.