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 Lithuania and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Tremeloes to the techno kids.
I played it at the Hacienda.
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 The Electric Prunes. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Rod Modell,
Camouflage,
Swell Maps,
The Fire Engines,
Girls At Our Best!,
Sound Behaviour,
Neil Young,
Matthew Halsall,
Ajijia Myrayebe,
Nation of Ulysses,
La Düsseldorf,
Rhythm & Sound,
Steve Hackett,
New York Dolls,
Infiniti,
The Gap Band,
Funky Four + One,
Freddie Wadling,
The Last Poets,
Lower 48,
The Invisible,
Unrelated Segments,
Big Daddy Kane,
the Soft Cell,
Scrapy,
Joe Finger,
Ludus,
The Evens,
Wolf Eyes,
Livin' Joy,
David Axelrod,
Electric Prunes,
Section 25,
Quando Quango,
Kango’s Stein Massive,
Peter Gordon & Love of Life Orchestra,
Magma,
Deadbeat,
A Certain Ratio,
Susan Cadogan,
Country Teasers,
The Real Kids,
Echospace,
Mission of Burma,
L. Decosne,
Archie Shepp,
Barrington Levy,
Neu!,
Crime,
The Slackers,
Heaven 17,
Amon Düül II,
Toni Rubio,
The Associates,
Loose Ends,
Lee Hazlewood,
Sparks,
The Names,
Sly & The Family Stone,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.