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 Iraq and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Manchester 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Cymande to the grime kids.
I played it at the Roxy.
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 Rakim. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
the Soft Cell,
The Pop Group,
Camberwell Now,
The Misunderstood,
Interpol,
Y Pants,
X-Ray Spex,
The Detroit Cobras,
a-ha,
Connie Case,
In Retrospect,
Livin' Joy,
Lafayette Afro Rock Band,
The Red Krayola,
Albert Ayler,
Accadde A,
Masters at Work,
Mandrill,
Hot Snakes,
Easy Going,
Nick Fraelich,
The Angels of Light,
Delta 5,
Kaleidoscope,
Leonard Cohen,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moody Blues,
Pantytec,
Johnny Clarke,
Suicide,
Dawn Penn,
Amon Düül,
Marmalade,
Negative Approach,
Television,
Marcia Griffiths,
Lee Hazlewood,
Delon & Dalcan,
Ice-T,
Tomorrow,
Gil Scott-Heron and Jamie xx,
Soft Cell,
Eve St. Jones,
the Germs,
The Golliwogs,
The Smiths,
La Düsseldorf,
Teenage Jesus and the Jerks,
Marc Almond,
Sam Rivers,
The Techniques,
John Holt,
Dead Boys,
Agitation Free,
Captain Beefheart & His Magic Band,
Amon Düül II,
Qualms,
The Raincoats,
Pere Ubu,
Kango’s Stein Massive,
The Flesh Eaters,
Echospace, Echospace, Echospace, Echospace.
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.