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 Togo and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Mumbai 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 Selda practice in a loft in Istanbul.
I was working on the marimba 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 Jesper Dahlbäck to the rock kids.
I played it at the Spitz.
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 Louis and Bebe Barron. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Sound Behaviour,
Wings,
The New Christs,
The Doors,
Bill Wells,
Gary Puckett & The Union Gap,
Goldenarms,
Interpol,
Roger Hodgson,
Boogie Down Productions,
Judy Mowatt,
LL Cool J,
Bang on a Can All-Stars,
Spoonie Gee,
Bad Manners,
D'Angelo,
Louis and Bebe Barron,
Colin Newman,
James Chance & The Contortions,
Jeru the Damaja,
the Normal,
the Association,
The Residents,
The Dave Clark Five,
Depeche Mode,
Pole,
Joy Division,
June Days,
Blancmange,
Morten Harket,
Donny Hathaway,
the Soft Cell,
The Index,
Don Cherry,
Major Organ And The Adding Machine,
World's Most,
Ten City,
Girls At Our Best!,
Wally Richardson,
Neil Young & Crazy Horse,
Grauzone,
Rhythm & Sound,
Camberwell Now,
The Smiths,
Barry Ungar,
Ultra Naté,
Nils Olav,
Black Pus,
Country Teasers,
Avey Tare's Slasher Flicks,
Lou Christie,
Juan Atkins,
8 Eyed Spy,
Oppenheimer Analysis,
Throbbing Gristle,
Sixth Finger,
Swans,
Sexual Harrassment,
The Dirtbombs,
The Slackers,
Fluxion, Fluxion, Fluxion, Fluxion.
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.