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 Haiti and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Lille 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 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 Soft Cell to the rock kids.
I played it at the Astoria.
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 Public Image Ltd.. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Traffic Nightmare,
David Axelrod,
Skaos,
Gong,
Sugar Minott,
Malaria!,
Steve Hackett,
Gil Scott-Heron & Brian Jackson,
Nik Kershaw,
Lalann,
Mandrill,
James White and The Blacks,
Jeff Mills,
Tomorrow,
The Black Dice,
the Soft Cell,
Matthew Halsall,
The Fuzztones,
Siglo XX,
Avey Tare,
The Peanut Butter Conspiracy,
Neu!,
Cecil Taylor,
Talk Talk,
MDC,
The Velvet Underground,
Fad Gadget,
Monks,
Marcia Griffiths,
The Alarm Clocks,
Skarface,
Funkadelic,
Ronnie Foster,
Crooked Eye,
Connie Case,
In Retrospect,
Simply Red,
Zapp,
Ossler,
John Holt,
Radiopuhelimet,
Rod Modell,
Peter & Gordon,
Harry Pussy,
AZ,
Bang On A Can,
The Stooges,
Bizarre Inc.,
Anthony Braxton,
Sällskapet,
Sexual Harrassment,
The Chocolate Watch Band,
Jerry Gold Smith,
the Association,
The Royal Family And The Poor,
Half Japanese,
E-Dancer,
Marc Romboy vs. Booka Shade,
Lower 48,
Darondo,
Bobby Byrd,
Absolute Body Control,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.