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 Djibouti and from Philadelphia.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lyon and London.
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 güiro 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 Mojo Men 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 Patti Smith. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Radiopuhelimet 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The West Coast Pop Art Experimental Band,
Camberwell Now,
Grandmaster Flash,
Wighnomy Brothers & Robag Wruhme,
London Community Gospel Choir,
Pet Shop Boys,
Moss Icon,
Aswad,
Jeru the Damaja,
Marc Almond,
The Standells,
Bauhaus,
It's A Beautiful Day,
Babytalk,
Eric Dolphy,
Pussy Galore,
Barbara Tucker,
Cabaret Voltaire,
Fear,
The Dirtbombs,
Ultramagnetic MC's,
The Real Kids,
The Knickerbockers,
Bizarre Inc.,
Arab on Radar,
Captain Beefheart & His Magic Band,
Pole,
Y Pants,
Robert Wyatt,
Skriet,
Fatback Band,
Ultra Naté,
Matthew Bourne,
cv313,
KRS-One,
Yazoo,
Curtis Mayfield,
Lower 48,
John Lydon,
Adolescents,
Jeff Lynne,
Minnie Riperton,
The Durutti Column,
Royal Trux,
Sister Nancy,
Roy Ayers Ubiquity,
The Fall,
Pete Rock & C.L. Smooth,
Vladislav Delay,
Judy Mowatt,
Goldenarms,
The Neon Judgement,
The Royal Family And The Poor,
Terry Callier,
Half Japanese,
Monks,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.