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 Marshall Islands and from Beijing.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia 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 Gregory Isaacs to the grunge 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 Sarah Menescal. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a harpsichord 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 chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Gregory Isaacs,
Gang Gang Dance,
Liaisons Dangereuses,
Little Man,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fifty Foot Hose,
Kerrie Biddell,
Cymande,
Swans,
Rufus Thomas,
Minnie Riperton,
James Chance & The Contortions,
Kaleidoscope,
Darondo,
Henry Cow,
Symarip,
The New Christs,
Byron Stingily,
New Age Steppers,
Neil Young & Crazy Horse,
Adolescents,
Barbara Tucker,
Joensuu 1685,
Sällskapet,
Mars,
Electric Prunes,
The Neon Judgement,
Interpol,
Charles Mingus,
Jesper Dahlbäck,
Index,
Q65,
Bobby Hutcherson,
Stiv Bators,
Thompson Twins,
The Standells,
Jacques Brel,
Yusef Lateef,
The Victims,
Inner City,
Young Marble Giants,
Ken Boothe,
Terry Callier,
Avey Tare,
Alton Ellis,
The Barracudas,
Stetsasonic,
Stockholm Monsters,
Mad Mike,
Lightning Bolt,
Minor Threat,
The Sisters of Mercy,
Eurythmics,
Lower 48,
Arab on Radar,
Laurel Aitken,
Robert Wyatt,
Heavy D & The Boyz,
The Beau Brummels,
Thee Headcoats,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.