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 the UAE and from Winnipeg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 Anthony Braxton to the disco kids.
I played it at the Astoria.
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 Hasil Adkins. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal disco 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Captain Beefheart & His Magic Band,
Kings Of Tomorrow,
Television,
Siouxsie and the Banshees,
In Retrospect,
Sad Lovers and Giants,
Rahsaan Roland Kirk,
Adolescents,
The Fuzztones,
Swans,
The Star Department,
The Shadows of Knight,
Lou Reed,
Excepter,
Eyeless In Gaza,
Spandau Ballet,
Henry Cow,
the Association,
The Standells,
Zero Boys,
Davy DMX,
Sandy B,
Rod Modell,
8 Eyed Spy,
Barrington Levy,
Bang On A Can,
MDC,
Eddi Front,
Drexciya,
London Community Gospel Choir,
Aloha Tigers,
Echo & the Bunnymen,
Isaac Hayes,
Sugar Minott,
Khruangbin,
Lee Hazlewood,
Ten City,
Richard Hell and the Voidoids,
Anakelly,
The Leaves,
Fluxion,
Country Joe & The Fish,
Marcia Griffiths,
Stiv Bators,
Red Lorry Yellow Lorry,
New Age Steppers,
Average White Band,
The Modern Lovers,
Funkadelic,
Jacques Brel,
Simply Red,
Jesper Dahlback,
The J.B.'s,
The Wake,
The Residents,
X-101,
Malaria!,
X-102,
Little Man,
Hot Snakes,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.