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 Uzbekistan and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Lagos 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 rhodes 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 Toni Rubio to the dance kids.
I played it at the Troubador.
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 Desert Stars. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Severed Heads 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 '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Joey Negro,
Derrick May,
Japan,
Gian Franco Pienzio,
Marine Girls,
The Cosmic Jokers,
Kurtis Blow,
Ultravox,
Jandek,
The Jesus and Mary Chain,
the Germs,
The Men They Couldn't Hang,
Avey Tare's Slasher Flicks,
Connie Case,
Arab on Radar,
Godley & Creme,
Massinfluence,
Skarface,
Glenn Branca,
Ken Boothe,
The Mojo Men,
The Selecter,
China Crisis,
Louis and Bebe Barron,
The Gun Club,
Throbbing Gristle,
The Moleskins,
Pere Ubu,
Tubeway Army,
Judy Mowatt,
Morten Harket,
Eric Dolphy,
Monks,
H. Thieme,
June Days,
Siouxsie and the Banshees,
Pantytec,
Public Enemy,
Juan Atkins,
Section 25,
Moss Icon,
Todd Terry,
ABC,
The Pop Group,
The Gories,
Heavy D & The Boyz,
The Fuzztones,
Easy Going,
Gil Scott-Heron and Jamie xx,
Chris Corsano,
Kenny Larkin,
Josef K,
Sugar Minott,
Q65,
R.M.O.,
Simply Red,
K-Klass,
Sexual Harrassment,
Severed Heads,
Loose Ends,
KRS-One, KRS-One, KRS-One, KRS-One.
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.