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 Bolivia and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Jakarta 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 Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Derrick May to the electroclash kids.
I played it at the Astoria.
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 Gichy Dan. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a spring reverb 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 arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
The Electric Prunes,
Heavy D & The Boyz,
Boredoms,
Gil Scott-Heron and Jamie xx,
Scientists,
The Birthday Party,
Babytalk,
Electric Prunes,
Anthony Braxton,
Rahsaan Roland Kirk,
Scan 7,
Throbbing Gristle,
Lalo Schifrin,
Neu!,
Piero Umiliani,
Desert Stars,
the Bar-Kays,
China Crisis,
Tom Boy,
Terry Callier,
Royal Trux,
Outsiders,
The Misunderstood,
Rekid,
The Leaves,
The Gap Band,
Ornette Coleman,
Theoretical Girls,
David Bowie,
D'Angelo,
The Moody Blues,
Lou Reed,
Aswad,
Warren Ellis,
Fela Kuti,
Sonic Youth,
Gang of Four,
Jeff Mills,
The Alarm Clocks,
In Retrospect,
Second Layer,
Matthew Bourne,
Soft Machine,
DeepChord presents Echospace,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
Liliput,
Terrestrial Tones,
The Techniques,
The Toasters,
Mantronix,
Roy Ayers,
Nation of Ulysses,
Alice Coltrane,
Todd Terry,
Prince Buster,
Trumans Water,
Con Funk Shun,
Mr. Review,
Zero Boys,
Liaisons Dangereuses,
Pussy Galore,
Ice-T, Ice-T, Ice-T, Ice-T.
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.