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 Liechtenstein and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Albert Ayler to the funk kids.
I played it at CBGB's.
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 MC5. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a güiro 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 arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
DJ Sneak,
Underground Resistance,
Morten Harket,
Outsiders,
Interpol,
Echo & the Bunnymen,
Gastr Del Sol,
T.S.O.L.,
Terrestrial Tones,
Minny Pops,
Scott Walker + Sunn O))),
Pet Shop Boys,
Au Pairs,
Teenage Jesus and the Jerks,
Lou Christie,
Bobby Womack,
Kayak,
The Fall,
Cal Tjader,
Robert Wyatt,
Hashim,
48th St. Collective,
The Happenings,
Peter Gordon & Love of Life Orchestra,
Soft Machine,
Scientists,
Hoover,
The Men They Couldn't Hang,
Easy Going,
The Beau Brummels,
Rhythm & Sound,
Malaria!,
The Victims,
Arthur Verocai,
Scion,
Make Up,
A Flock of Seagulls,
Toni Rubio,
Davy DMX,
Parry Music,
Godley & Creme,
Lalo Schifrin,
Second Layer,
Young Marble Giants,
Main Source,
Gang of Four,
Bad Manners,
Television,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Electric Light Orchestra,
Harry Pussy,
A Certain Ratio,
Pantaleimon,
Cameo,
cv313,
The Remains,
The Dave Clark Five,
Jesper Dahlback,
Average White Band,
Marc Almond,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.