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 Uganda and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Halifax 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Hardrive to the punk kids.
I played it at the Roxy.
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 Lindisfarne. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar 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 spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Offenders,
Black Bananas,
The Walker Brothers,
Oblivians,
DNA,
the Human League,
Excepter,
Vladislav Delay,
Roy Ayers Ubiquity,
Underground Resistance,
David Axelrod,
Bill Near,
Brass Construction,
Nick Fraelich,
Bootsy Collins,
David McCallum,
The Peanut Butter Conspiracy,
F. McDonald,
Susan Cadogan,
La Düsseldorf,
Aloha Tigers,
In Retrospect,
Fad Gadget,
This Heat,
Slick Rick,
Ituana,
The Gladiators,
Gang Gang Dance,
CMW,
Bluetip,
ABC,
Main Source,
Yazoo,
Gang of Four,
Jimmy McGriff,
Lungfish,
Echospace,
David Bowie,
Pussy Galore,
Spandau Ballet,
Lonnie Liston Smith,
Louis and Bebe Barron,
Lee Hazlewood,
Kaleidoscope,
Icehouse,
Depeche Mode,
The Gap Band,
Davy DMX,
Girls At Our Best!,
Pierre Henry,
Rhythm & Sound,
Dawn Penn,
Zero Boys,
The Five Americans,
Piero Umiliani,
The Last Poets,
Orchestral Manoeuvres in the Dark,
Sixth Finger,
Curtis Mayfield,
The Alarm Clocks,
Basic Channel,
Nation of Ulysses,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.