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 Zimbabwe and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Mumbai.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Lizzy Mercier Descloux 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 Scion. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
DJ Style,
Pere Ubu,
Boogie Down Productions,
Joe Smooth,
Dead Boys,
Black Pus,
Roxette,
John Cale,
Marc Almond,
Glambeats Corp.,
Blossom Toes,
The Divine Comedy,
Fear,
The Pop Group,
48th St. Collective,
Ultra Naté,
Visionaries,LMNO, T- Love & Iriscience,
Man Eating Sloth,
Lou Reed & John Cale,
The American Breed,
Electric Prunes,
The Cosmic Jokers,
Marvin Gaye,
the Germs,
Wighnomy Brothers & Robag Wruhme,
The Selecter,
Danielle Patucci,
Depeche Mode,
Gang Starr,
Robert Hood,
Peter and Kerry,
Crime,
Echo & the Bunnymen,
Infiniti,
Fatback Band,
Grauzone,
Sonny Sharrock,
The Saints,
ABBA,
The Fire Engines,
the Swans,
The Dirtbombs,
The Detroit Cobras,
The Neon Judgement,
Wally Richardson,
Bill Near,
the Slits,
Barrington Levy,
Bobby Womack,
Scratch Acid,
Graham Central Station,
The Slackers,
Eden Ahbez,
The Seeds,
the Human League,
Notorious Big And Bone Thugs,
Bronski Beat,
Agitation Free,
John Coltrane,
Nick Cave & The Bad Seeds,
Darondo,
Jimmy McGriff,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.