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 Cameroon and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Ossler to the techno kids.
I played it at Cafe Wha.
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 Bauhaus. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Joyce Sims,
Marc Romboy vs. Booka Shade,
Donny Hathaway,
The United States of America,
Talk Talk,
Harmonia,
Tom Boy,
JFA,
Delon & Dalcan,
Jeff Lynne,
The Moleskins,
Kenny Larkin,
U.S. Maple,
Tomorrow,
Arab on Radar,
Sight & Sound,
Pierre Henry,
The Walker Brothers,
Gerry Rafferty,
Animal Collective,
Super Lover Cee & Casanova Rud,
Ultimate Spinach,
Public Image Ltd.,
Man Parrish,
Bauhaus,
Groovy Waters,
Reuben Wilson,
These Immortal Souls,
Rosa Yemen,
Sam Rivers,
The Residents,
Jesper Dahlbäck,
The Mummies,
Ultravox,
Juan Atkins,
The Raincoats,
Thompson Twins,
Smog,
Ice-T,
Eyeless In Gaza,
The Index,
Electric Prunes,
Goldenarms,
Arcadia,
The Litter,
Jawbox,
Motorama,
Rod Modell,
Q65,
James Chance & The Contortions,
Faraquet,
Zapp,
Jacob Miller,
Alice Coltrane,
Pete Rock & C.L. Smooth,
8 Eyed Spy,
The Black Dice,
Sex Pistols,
The Gladiators,
The Fall,
Kas Product, Kas Product, Kas Product, Kas Product.
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.