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 South Africa and from Glasgow.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Taipei 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 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 Soft Machine to the grime 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 The Five Americans. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Moss Icon 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Janne Schatter,
Shoche,
The Star Department,
Nation of Ulysses,
The Shadows of Knight,
Alton Ellis,
Electric Light Orchestra,
Flamin' Groovies,
Sexual Harrassment,
Mr. Review,
Pantytec,
Suburban Knight,
Audionom,
Animal Collective,
Godley & Creme,
Peter & Gordon,
Young Marble Giants,
Sunsets and Hearts,
Delta 5,
Kerri Chandler,
Radio Birdman,
Public Image Ltd.,
The Slits,
Qualms,
Jerry's Kids,
Lou Reed & Metallica,
Hot Snakes,
DJ Sneak,
Agitation Free,
The Peanut Butter Conspiracy,
Tropical Tobacco,
Niagra,
Louis and Bebe Barron,
Sun Ra Arkestra,
Nico,
Freddie Wadling,
Pole,
Black Flag,
Faraquet,
Eyeless In Gaza,
Kevin Saunderson,
Kaleidoscope,
Roxy Music,
Swell Maps,
Minny Pops,
Captain Beefheart & His Magic Band,
Mad Mike,
The Index,
Au Pairs,
Peter and Kerry,
Spoonie Gee,
Ronnie Foster,
Chris Corsano,
The Alarm Clocks,
Thee Headcoats,
Nirvana,
Bob Dylan,
Agent Orange,
The Cure,
Selector Dub Narcotic,
the Normal, the Normal, the Normal, the Normal.
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.