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 Netherlands and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Jacques Brel to the rock 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 Roxy Music. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Dual Sessions 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Von Mondo,
Panda Bear,
Echospace,
Al Stewart,
Darondo,
Ultimate Spinach,
Harry Pussy,
Fear,
Man Eating Sloth,
Jeru the Damaja,
Mr. Review,
Slick Rick,
The United States of America,
Arcadia,
The Smiths,
Symarip,
The Cure,
Yazoo,
New Order,
Nico,
Fad Gadget,
Graham Central Station,
Siglo XX,
Dual Sessions,
The Buckinghams,
Rufus Thomas,
Essential Logic,
Rosa Yemen,
Morten Harket,
Swans,
Pharaoh Sanders and the Fire Engines,
Bobby Byrd,
Black Flag,
Tomorrow,
Wally Richardson,
Johnny Osbourne,
Skriet,
Prince Buster,
Kerri Chandler,
Gang Green,
Monks,
Roger Hodgson,
Jesper Dahlbäck,
Crooked Eye,
The Fire Engines,
Porter Ricks,
Gregory Isaacs,
Wire,
Nirvana,
Pierre Henry,
OOIOO,
Manfred Mann's Earth Band,
Inner City,
EPMD,
Soft Cell,
Gong,
The J.B.'s,
Popol Vuh,
Lou Christie,
Lonnie Liston Smith,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.