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 United States and from New York.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Manila 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 Tom Verlaine 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 Althea and Donna to the jazz kids.
I played it at the Hacienda.
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 Johnny Osbourne. All the underground hits.
All Index tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Tomorrow,
Lonnie Liston Smith,
Faraquet,
OOIOO,
Colin Newman,
48th St. Collective,
Mission of Burma,
The Durutti Column,
Kool G Rap & DJ Polo,
The Skatalites,
Josef K,
Franke,
Rahsaan Roland Kirk,
Rowland S Howard / Lydia Lunch,
Visage,
The Dave Clark Five,
Fort Wilson Riot,
Motorama,
Chrome,
Wire,
UT,
Crime,
Oppenheimer Analysis,
The Black Dice,
A Certain Ratio,
Rapeman,
Bobby Byrd,
the Human League,
Don Cherry,
Country Joe & The Fish,
Henry Cow,
Sugar Minott,
Stereo Dub,
The Mojo Men,
Donald Byrd,
Supertramp,
the Swans,
Sad Lovers and Giants,
Cybotron,
a-ha,
Deutsch Amerikanische Freundschaft,
Arab on Radar,
Aural Exciters,
Cheater Slicks,
Eric Copeland,
The Trojans,
Marine Girls,
Kaleidoscope,
Bootsy's Rubber Band,
Grauzone,
Jacques Brel,
Davy DMX,
Blancmange,
Junior Murvin,
The Flesh Eaters,
The Standells,
Peter Gordon & Love of Life Orchestra,
Maurizio,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.