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 Spain and from Milan.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Lille 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 Howard Jones to the disco kids.
I played it at Cafe Wha.
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 Susan Cadogan. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every PIL 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Man Eating Sloth,
Marshall Jefferson,
Louis and Bebe Barron,
The Five Americans,
Hasil Adkins,
The Seeds,
L. Decosne,
Amazonics,
Au Pairs,
The Gladiators,
The Electric Prunes,
London Community Gospel Choir,
Rhythm & Sound,
Judy Mowatt,
Chris & Cosey,
Pole,
World's Most,
Byron Stingily,
the Association,
Marine Girls,
Rekid,
Connie Case,
Roger Hodgson,
Rosa Yemen,
Flipper,
Brass Construction,
Sixth Finger,
Sun City Girls,
Public Image Ltd.,
Ronan,
Yazoo,
Piero Umiliani,
Erasure,
Jeff Lynne,
Nas,
Carl Craig,
The Birthday Party,
Scion,
KRS-One,
Davy DMX,
Japan,
The Toasters,
Traffic Nightmare,
Liaisons Dangereuses,
Newcleus,
The Searchers,
Jacob Miller,
Pharoah Sanders,
Dawn Penn,
The Monks,
The Names,
Larry & the Blue Notes,
Charles Mingus,
Yusef Lateef,
Tears for Fears,
Gerry Rafferty,
DJ Sneak,
Bootsy's Rubber Band,
Jeru the Damaja,
Can,
Quadrant,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.