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 Bahamas and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Taipei and Halifax.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Alarm Clocks to the grime kids.
I played it at the Spitz.
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 Dead Boys. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Mantronix,
Bluetip,
Jimmy McGriff,
Bobby Womack,
Agent Orange,
Roy Ayers,
Masters at Work,
Sister Nancy,
Sound Behaviour,
The Busters,
Super Lover Cee & Casanova Rud,
Black Pus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barry Ungar,
Eddi Front,
Ituana,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Five Americans,
the Soft Cell,
Cabaret Voltaire,
Althea and Donna,
Joe Finger,
Alison Limerick,
The Kinks,
Moby Grape,
Echospace,
Blossom Toes,
The Divine Comedy,
the Swans,
Schoolly D,
David Axelrod,
Pulsallama,
Pierre Henry,
Erasure,
Morten Harket,
Nation of Ulysses,
Sugar Minott,
Panda Bear,
Major Organ And The Adding Machine,
Ludus,
The Star Department,
Mo-Dettes,
Justin Hinds & The Dominoes,
Gil Scott-Heron and Jamie xx,
The Victims,
Interpol,
Sandy B,
Godley & Creme,
Siglo XX,
Crime,
The Index,
Larry & the Blue Notes,
The Monochrome Set,
Magazine,
The Pop Group,
Amazonics,
Todd Terry,
Notorious Big And Bone Thugs,
Howard Jones,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.