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 Micronesia and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Taipei 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 Bronski Beat practice in a loft in Brixton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Soft Cell to the punk 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 Toni Rubio. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every A Certain Ratio 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator 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 mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Suburban Knight,
The Real Kids,
Arab on Radar,
The Detroit Cobras,
Sällskapet,
Moby Grape,
Soul Sonic Force,
Fifty Foot Hose,
Roy Ayers Ubiquity,
Severed Heads,
Bobby Hutcherson,
Bizarre Inc.,
Mark Hollis,
Letta Mbulu,
Wighnomy Brothers & Robag Wruhme,
Juan Atkins,
UT,
Yaz,
The Victims,
Jawbox,
U.S. Maple,
Jesper Dahlback,
The Saints,
Chris & Cosey,
PIL,
The Cowsills,
Brass Construction,
Larry & the Blue Notes,
Barclay James Harvest,
Au Pairs,
Gang Gang Dance,
Lou Reed,
Red Lorry Yellow Lorry,
Duran Duran,
Blancmange,
Lalo Schifrin,
James Chance & The Contortions,
Cybotron,
Dead Boys,
Frankie Knuckles,
Bad Manners,
Sparks,
Gabor Szabo,
Goldenarms,
Clear Light,
Skaos,
Urselle,
Andrew Ashong & Theo Parrish,
Shoche,
Camberwell Now,
The Young Rascals,
Justin Hinds & The Dominoes,
Audionom,
Mo-Dettes,
Absolute Body Control,
Bush Tetras,
Ash Ra Tempel,
The Blackbyrds,
The Litter,
Kurtis Blow,
Index,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.