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 Canada and from Mexico City.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Röyhkä ja Rättö ja Lehtisalo to the rock kids.
I played it at the Troubador.
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 a-ha. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Connie Case,
the Swans,
Eurythmics,
Barrington Levy,
Morten Harket,
Symarip,
The Sound,
Siglo XX,
Camberwell Now,
The Shadows of Knight,
The Black Dice,
Scientists,
Pere Ubu,
Stiv Bators,
The Five Americans,
Soft Machine,
Sexual Harrassment,
John Cale,
Lucky Dragons,
Tubeway Army,
Thompson Twins,
The Star Department,
Minnie Riperton,
Charles Mingus,
Steve Hackett,
Godley & Creme,
JFA,
Eric Copeland,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
Wings,
Ronan,
Khruangbin,
Angry Samoans,
Von Mondo,
Thinking Fellers Union Local 282,
Con Funk Shun,
Television Personalities,
Oneida,
Maurizio,
Howard Jones,
The Trojans,
Fat Boys,
The Invisible,
Grandmaster Flash,
Mark Hollis,
Suburban Knight,
Quantec,
Rosa Yemen,
Scratch Acid,
OOIOO,
Max Romeo,
Graham Central Station,
Amon Düül II,
Ralphi Rosario,
The West Coast Pop Art Experimental Band,
The Zeros,
Rahsaan Roland Kirk,
Freddie Wadling,
Angels of Light & Akron/Family,
Arthur Verocai,
The Count Five, The Count Five, The Count Five, The Count Five.
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.