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 Turkmenistan and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1973.
I'm losing my edge.
To all the kids in Calgary and Toronto.
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 1975 at the first Throbbing Gristle 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 The Martian to the punk 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 Busters. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Electric Prunes 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
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,
Crispy Ambulance,
Pulsallama,
Simply Red,
The Move,
The Smiths,
Goldenarms,
Quantec,
Sister Nancy,
the Sonics,
Jandek,
The Blues Magoos,
Stiv Bators,
Kevin Saunderson,
Toni Rubio,
Funkadelic,
David McCallum,
Loose Ends,
Minnie Riperton,
Derrick May,
Franke,
Clear Light,
Eric Copeland,
The Cure,
Arcadia,
The New Christs,
Drive Like Jehu,
Brass Construction,
Laurel Aitken,
The Fire Engines,
Minor Threat,
Spandau Ballet,
Notorious Big And Bone Thugs,
The Neon Judgement,
Andrew Ashong & Theo Parrish,
Fear,
Flash Fearless,
Soft Machine,
The Knickerbockers,
The Cowsills,
Black Sheep,
Dark Day,
Eli Mardock,
Roxy Music,
Aloha Tigers,
The Jesus and Mary Chain,
Procol Harum,
Hasil Adkins,
Von Mondo,
Moebius,
The Fall,
Sun Ra,
The Saints,
Freddie Wadling,
H. Thieme,
The Electric Prunes,
Jeff Mills,
Stereo Dub,
Oppenheimer Analysis,
The Tremeloes,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.