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 Bosnia Herzegovina and from Johannesburg.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school London 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Althea and Donna to the funk 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 The Velvet Underground. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
The American Breed,
Brass Construction,
Marc Romboy vs. Booka Shade,
Theoretical Girls,
Curtis Mayfield,
Aloha Tigers,
MC5,
Amazonics,
Pere Ubu,
Tom Boy,
Arthur Verocai,
Index,
Vladislav Delay,
Liliput,
Kango’s Stein Massive,
Crash Course in Science,
Dark Day,
James Chance & The Contortions,
Kaleidoscope,
Pierre Henry,
Skaos,
Main Source,
Altered Images,
Newcleus,
Scott Walker,
Chris Corsano,
David Axelrod,
Eurythmics,
Metal Thangz,
These Immortal Souls,
The Gladiators,
Mark Hollis,
The Trojans,
Siglo XX,
John Holt,
The Neon Judgement,
FM Einheit,
Kenny Larkin,
Judy Mowatt,
Spandau Ballet,
Con Funk Shun,
Ornette Coleman,
Hashim,
Andrew Ashong & Theo Parrish,
Gang Green,
Thompson Twins,
EPMD,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Supertramp,
The United States of America,
Peter Gordon & Love of Life Orchestra,
Section 25,
Sight & Sound,
The Leaves,
X-102,
Technova,
Sun Ra Arkestra,
Silicon Teens,
Vaughan Mason & Crew,
Cybotron,
Darondo, Darondo, Darondo, Darondo.
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.