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 El Salvador and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Marcia Griffiths to the dance kids.
I played it at the Crocodile.
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 Fear. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
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,
Magazine,
The Pop Group,
Funkadelic,
Wings,
Gastr Del Sol,
The Offenders,
This Heat,
Rhythim Is Rhythim,
Grandmaster Flash and the Furious Five,
U.S. Maple,
The Sisters of Mercy,
Robert Hood,
Rhythm & Sound,
Lou Reed,
The Names,
Eric B and Rakim,
The Blackbyrds,
Colin Newman,
Siglo XX,
Girls At Our Best!,
Neil Young,
X-102,
Cabaret Voltaire,
Bobby Hutcherson,
Archie Shepp,
Carl Craig,
Harmonia,
The Cure,
Fela Kuti,
Ornette Coleman,
Lyres,
Leonard Cohen,
Aural Exciters,
kango's stein massive,
Kool Moe Dee,
Freddie Wadling,
Pussy Galore,
The Durutti Column,
Make Up,
Arthur Verocai,
Index,
Alton Ellis,
Althea and Donna,
Roxy Music,
Gichy Dan,
Soft Machine,
Idris Muhammad,
Parry Music,
Kango’s Stein Massive,
Minnie Riperton,
Amazonics,
Jeru the Damaja,
Pagans,
The Motions,
Nick Fraelich,
Ronnie Foster,
Gang Gang Dance,
Dorothy Ashby,
Yazoo,
Gang Starr,
Pet Shop Boys,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.