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 Bhutan and from Woodstock.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Tokyo 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 clarinet 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 Brass Construction to the electroclash kids.
I played it at the Crocodile.
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 Traffic Nightmare. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
48th St. Collective,
Lou Reed,
Alton Ellis,
John Holt,
A Flock of Seagulls,
Boredoms,
Letta Mbulu,
Sunsets and Hearts,
Absolute Body Control,
Crash Course in Science,
Eric Dolphy,
The Alarm Clocks,
The Fugs,
a-ha,
Schoolly D,
Negative Approach,
Metal Thangz,
Flash Fearless,
Barbara Tucker,
James White and The Blacks,
Alison Limerick,
The Velvet Underground,
Ituana,
Idris Muhammad,
Niagra,
Todd Rundgren,
Cecil Taylor,
Eurythmics,
In Retrospect,
Art Ensemble Of Chicago,
Roy Ayers,
Electric Light Orchestra,
Leonard Cohen,
Nick Fraelich,
Saccharine Trust,
Dark Day,
The Mummies,
Derrick Morgan,
Bizarre Inc.,
Bill Near,
Reuben Wilson,
The Birthday Party,
Terry Callier,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
Hasil Adkins,
Joey Negro,
Kurtis Blow,
Freddie Wadling,
The Evens,
Arab on Radar,
Hashim,
Loose Ends,
Roxy Music,
Cybotron,
the Soft Cell,
Mantronix,
Lizzy Mercier Descloux,
Don Cherry,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.