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 Guyana and from Toronto.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 The Cure to the techno kids.
I played it at CBGB's.
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 Franke. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Robert Görl 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 '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Mandrill,
the Normal,
Gerry Rafferty,
Stereo Dub,
Althea and Donna,
Peter Gordon & Love of Life Orchestra,
The Modern Lovers,
The Durutti Column,
Suburban Knight,
Marc Romboy vs. Booka Shade,
Chrome,
Nation of Ulysses,
The Martian,
Sarah Menescal,
Drive Like Jehu,
Sun City Girls,
Steve Hackett,
Minnie Riperton,
Flamin' Groovies,
John Cale,
The Fire Engines,
The Fall,
Ken Boothe,
Neu!,
Essential Logic,
Banda Bassotti,
Outsiders,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
Maleditus Sound,
Mission of Burma,
Simply Red,
Zero Boys,
Faust,
Throbbing Gristle,
Sight & Sound,
Harpers Bizarre,
the Sonics,
Cheater Slicks,
The Trojans,
Eden Ahbez,
Anakelly,
Reuben Wilson,
Peter & Gordon,
The Slackers,
Lee Hazlewood,
Mars,
Delon & Dalcan,
Pharaoh Sanders and the Fire Engines,
John Holt,
Blancmange,
Second Layer,
Crash Course in Science,
Nils Olav,
Bobbi Humphrey,
New Age Steppers,
The Star Department,
Vladislav Delay,
Iggy Pop,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.