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 the UAE and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school London 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 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 The Mojo Men to the rap kids.
I played it at the Troubador.
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 Bobbi Humphrey. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Alphaville 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Glambeats Corp.,
Saccharine Trust,
F. McDonald,
Bob Dylan,
The Moleskins,
Grey Daturas,
Nils Olav,
The Jesus and Mary Chain,
ABBA,
Rhythim Is Rhythim,
Black Bananas,
Lafayette Afro Rock Band,
Aaron Thompson,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
the Germs,
Audionom,
B.T. Express,
Rotary Connection,
Sarah Menescal,
Accadde A,
Beasts of Bourbon,
Bill Wells,
Monolake,
Big Daddy Kane,
Quando Quango,
Babytalk,
Easy Going,
Brothers Johnson,
Radiopuhelimet,
Cabaret Voltaire,
La Düsseldorf,
Orchestral Manoeuvres in the Dark,
Cameo,
Kango’s Stein Massive,
Eddi Front,
Ken Boothe,
Stiv Bators,
Darondo,
Supertramp,
Massinfluence,
X-101,
Gregory Isaacs,
Malaria!,
Blossom Toes,
Frankie Knuckles,
Trumans Water,
John Cale,
Alton Ellis,
The Walker Brothers,
Funky Four + One,
Rahsaan Roland Kirk,
Mark Hollis,
The Fire Engines,
Kool G Rap & DJ Polo,
Letta Mbulu,
Agent Orange,
Rod Modell,
Magazine, Magazine, Magazine, Magazine.
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.