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 Estonia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Pete Rock & C.L. Smooth to the rap kids.
I played it at Trash.
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 Grauzone. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Fad Gadget,
48th St. Collective,
Minutemen,
Black Pus,
Heavy D & The Boyz,
Soul Sonic Force,
Livin' Joy,
This Heat,
Nik Kershaw,
Teenage Jesus and the Jerks,
Max Romeo,
The Real Kids,
Ponytail,
De La Soul & Jungle Brothers,
Avey Tare & Kría Brekkan,
The Gladiators,
The Dirtbombs,
Chrome,
Theoretical Girls,
Sam Rivers,
Quantec,
Kaleidoscope,
Roy Ayers Ubiquity,
David McCallum,
Charles Mingus,
Pierre Henry,
Sonic Youth,
Steve Hackett,
Captain Beefheart & His Magic Band,
Motorama,
Marshall Jefferson,
Soft Machine,
Easy Going,
Maleditus Sound,
EPMD,
The Sisters of Mercy,
Beasts of Bourbon,
Funkadelic,
Suicide,
Hardrive,
Malaria!,
X-101,
Red Lorry Yellow Lorry,
Rakim,
The New Christs,
Bluetip,
Ultimate Spinach,
Morten Harket,
The Human League,
Japan,
Wire,
Zapp,
The Smiths,
Babytalk,
Magazine,
MDC,
Barclay James Harvest,
H. Thieme,
Fort Wilson Riot,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.