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 Nepal and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Manchester 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 marimba 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 The Selecter to the crunk kids.
I played it at the 40 Watt.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Ultravox,
Swell Maps,
Fad Gadget,
Laurel Aitken,
Jesper Dahlback,
R.M.O.,
EPMD,
Yaz,
Dead Boys,
Brass Construction,
The Men They Couldn't Hang,
Pharaoh Sanders and the Fire Engines,
Crispy Ambulance,
Rowland S Howard / Lydia Lunch,
Depeche Mode,
Maurizio,
Slick Rick,
10cc,
Byron Stingily,
Lalo Schifrin,
Girls At Our Best!,
Rapeman,
John Coltrane,
The Evens,
Deakin,
Jesper Dahlbäck,
Nation of Ulysses,
Robert Wyatt,
Barclay James Harvest,
The Smiths,
The West Coast Pop Art Experimental Band,
Fugazi,
Frankie Knuckles,
Kas Product,
The Dave Clark Five,
Schoolly D,
Robert Görl,
Inner City,
Brothers Johnson,
Gil Scott Heron,
a-ha,
Rites of Spring,
Nick Cave & The Bad Seeds,
Gregory Isaacs,
Qualms,
Traffic Nightmare,
Organ,
Peter and Kerry,
Niagra,
Loose Ends,
Scrapy,
Rhythm & Sound,
The Peanut Butter Conspiracy,
Selector Dub Narcotic,
Avey Tare's Slasher Flicks,
Animal Collective,
Avey Tare & Kría Brekkan,
Chrome,
Alphaville,
Suicide,
The Cramps, The Cramps, The Cramps, The Cramps.
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.