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 Bahamas and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Portland.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator 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 Ornette Coleman to the funk kids.
I played it at the Crocodile.
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 ABC. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Skaos 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
MDC,
The Peanut Butter Conspiracy,
Joe Finger,
Jesper Dahlback,
Rod Modell,
Aural Exciters,
Traffic Nightmare,
The Index,
The Modern Lovers,
The Techniques,
Sparks,
Ornette Coleman,
Swell Maps,
Ajijia Myrayebe,
Con Funk Shun,
Saccharine Trust,
Newcleus,
Isaac Hayes,
Eyeless In Gaza,
Arab on Radar,
ABC,
The Detroit Cobras,
Nas,
Aloha Tigers,
Larry & the Blue Notes,
The Dead C,
Shoche,
Monolake,
Kango’s Stein Massive,
Ultravox,
Gerry Rafferty,
The Angels of Light,
Wolf Eyes,
Negative Approach,
Roy Ayers,
The Smiths,
Theoretical Girls,
The Pretty Things,
Jacques Brel,
The Names,
Blossom Toes,
The Smoke,
Livin' Joy,
Aswad,
KRS-One,
Avey Tare,
Silicon Teens,
the Association,
Skarface,
The Chocolate Watch Band,
The Martian,
Bad Manners,
Dave Gahan,
The Barracudas,
Bobby Byrd,
Steve Hackett,
Make Up,
Todd Rundgren,
Jeff Mills,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.