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 Lithuania and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1971.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Accra 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Mandrill to the techno kids.
I played it at the Hacienda.
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 Knickerbockers. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Ken Boothe 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
The Peanut Butter Conspiracy,
X-101,
ABC,
The Buckinghams,
The Names,
Harmonia,
The Slackers,
Intrusion,
Kas Product,
Eve St. Jones,
The Red Krayola,
Half Japanese,
Glenn Branca,
Terry Callier,
Trumans Water,
The Beau Brummels,
Avey Tare's Slasher Flicks,
Albert Ayler,
The Trojans,
Mad Mike,
FM Einheit,
The Human League,
Bush Tetras,
Sex Pistols,
Kerri Chandler,
Matthew Bourne,
Yusef Lateef,
Sister Nancy,
The Doors,
Gang Green,
Pussy Galore,
Scott Walker,
Bobby Womack,
Symarip,
Royal Trux,
Eddi Front,
Country Joe & The Fish,
Sound Behaviour,
The Smoke,
The Shadows of Knight,
Ajijia Myrayebe,
New Order,
The Move,
Thee Headcoats,
kango's stein massive,
The Mojo Men,
Heavy D & The Boyz,
the Sonics,
Public Image Ltd.,
The Gun Club,
Erasure,
Interpol,
Ornette Coleman,
Andrew Ashong & Theo Parrish,
Thompson Twins,
Organ,
Dawn Penn,
Gary Puckett & The Union Gap,
Barrington Levy,
Morten Harket,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.