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 Tanzania and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Delhi and Taipei.
I'm losing my edge to the art-school Accra 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Country Teasers to the rap kids.
I played it at the 40 Watt.
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 Throbbing Gristle. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Animal Collective 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
The Velvet Underground,
Jawbox,
Boogie Down Productions,
Niagra,
Minny Pops,
Flipper,
Sad Lovers and Giants,
Aural Exciters,
Delon & Dalcan,
Yellowson,
Laurel Aitken,
Glambeats Corp.,
Pere Ubu,
Royal Trux,
Das Ding,
The Remains,
Barrington Levy,
Make Up,
Zapp,
Pierre Henry,
Kauko Röyhkä ja Narttu,
Jeff Mills,
Brick,
Anthony Braxton,
The Detroit Cobras,
The Pretty Things,
Camberwell Now,
Davy DMX,
The Seeds,
Matthew Bourne,
Curtis Mayfield,
Fifty Foot Hose,
Mr. Review,
Interpol,
Alton Ellis,
Avey Tare,
Marcia Griffiths,
Juan Atkins,
Rufus Thomas,
Be Bop Deluxe,
Bush Tetras,
Rod Modell,
Mandrill,
Tim Buckley,
F. McDonald,
The Angels of Light,
The Dead C,
The Wake,
One Last Wish,
Marmalade,
Section 25,
The New Christs,
Siglo XX,
Pylon,
The Pop Group,
The Saints,
Simply Red,
Peter Gordon & Love of Life Orchestra,
Drexciya,
Deutsch Amerikanische Freundschaft,
Ornette Coleman,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.