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 Germany and from Manchester.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manchester and Cairo.
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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Scrapy to the rap kids.
I played it at the Spitz.
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 Yazoo. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
F. McDonald,
Ossler,
The Gap Band,
Morten Harket,
New York Dolls,
Terrestrial Tones,
Vainqueur,
Eden Ahbez,
Minutemen,
The Sonics,
Kings Of Tomorrow,
Bobby Sherman,
the Soft Cell,
Black Pus,
Theoretical Girls,
Ludus,
The Monks,
Little Man,
Essential Logic,
The Seeds,
Youth Brigade,
Matthew Halsall,
Robert Görl,
Strawberry Alarm Clock,
Qualms,
Hashim,
Patti Smith,
Lonnie Liston Smith,
Harry Pussy,
Kerrie Biddell,
Tears for Fears,
Godley & Creme,
Dead Boys,
Mo-Dettes,
Ten City,
Loose Ends,
Nico,
Grauzone,
Arab on Radar,
Selector Dub Narcotic,
Pulsallama,
Gabor Szabo,
The Doors,
Avey Tare & Kría Brekkan,
The Motions,
The United States of America,
Wighnomy Brothers & Robag Wruhme,
James White and The Blacks,
L. Decosne,
Stiv Bators,
FM Einheit,
The Fire Engines,
Yazoo,
Idris Muhammad,
Second Layer,
DJ Sneak,
Tom Boy,
Oppenheimer Analysis,
Kenny Larkin,
Sparks,
Hardrive,
Can,
Joe Finger,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.