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 Mozambique and from Portland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Cabaret Voltaire to the techno kids.
I played it at the 40 Watt.
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 The Mummies. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Public Enemy 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
The West Coast Pop Art Experimental Band,
Spoonie Gee,
Mission of Burma,
Sarah Menescal,
MDC,
The Fortunes,
Arthur Verocai,
Shuggie Otis,
Country Teasers,
Bobbi Humphrey,
Lou Reed & Metallica,
The Gun Club,
Dorothy Ashby,
It's A Beautiful Day,
The Skatalites,
Lyres,
Deutsch Amerikanische Freundschaft,
The Smiths,
Ken Boothe,
Brick,
Supertramp,
Rahsaan Roland Kirk,
Patti Smith,
Roy Ayers,
Jawbox,
Eric Copeland,
Mantronix,
Jerry Gold Smith,
The Remains,
X-102,
Kevin Saunderson,
A Certain Ratio,
Darondo,
Fela Kuti,
James Chance & The Contortions,
World's Most,
The Pop Group,
Joe Smooth,
Howard Jones,
Nick Fraelich,
Metal Thangz,
Sun Ra Arkestra,
Sly & The Family Stone,
Section 25,
The Electric Prunes,
DJ Sneak,
Tomorrow,
Bill Near,
Barry Ungar,
Minutemen,
The Index,
The Cowsills,
Grauzone,
Sparks,
Easy Going,
UT,
The Sound,
the Swans,
Magma,
Ultramagnetic MC's,
Lebanon Hanover,
Radiohead, Radiohead, Radiohead, Radiohead.
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.