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 Vietnam and from Milan.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Mexico City 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 Human League practice in a loft in Sheffield.
I was working on the güiro 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 Susan Cadogan to the funk kids.
I played it at Trash.
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 Soft Cell. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
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,
Mo-Dettes,
Cameo,
Q and Not U,
Delon & Dalcan,
Josef K,
The United States of America,
Robert Wyatt,
Ultravox,
Massinfluence,
Bluetip,
The Victims,
Sexual Harrassment,
The Gun Club,
Cheater Slicks,
The Litter,
The American Breed,
John Holt,
Radiohead,
Danielle Patucci,
Arab on Radar,
Sonny Sharrock,
Schoolly D,
The Gladiators,
Lyres,
The Sound,
Clear Light,
Lakeside,
Rufus Thomas,
Stereo Dub,
The Fugs,
Circle Jerks,
The Mojo Men,
The Dead C,
Reagan Youth,
Tommy Roe,
Pagans,
H. Thieme,
the Association,
Derrick May,
Rosa Yemen,
Lou Reed & John Cale,
Severed Heads,
Tomorrow,
The Toasters,
Shuggie Otis,
The Slackers,
Nils Olav,
Janne Schatter,
Art Ensemble Of Chicago,
Freddie Wadling,
Magma,
Pere Ubu,
The Dave Clark Five,
CMW,
Oneida,
Notorious Big And Bone Thugs,
The Raincoats,
Todd Rundgren,
Eurythmics,
Warren Ellis,
U.S. Maple,
Joe Finger,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.