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 Azerbaijan and from Paris.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Woodstock 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Real Kids to the disco kids.
I played it at the Troubador.
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 Half Japanese. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a clarinet 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 snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Happenings,
Mars,
Pantytec,
Erasure,
Mr. Review,
Bootsy Collins,
The Gun Club,
Lonnie Liston Smith,
Matthew Halsall,
Jacques Brel,
These Immortal Souls,
Avey Tare,
Robert Görl,
The Mighty Diamonds,
The Saints,
Charles Mingus,
Blake Baxter,
Outsiders,
Leonard Cohen,
Nik Kershaw,
Frankie Knuckles,
Eric Dolphy,
Model 500,
The West Coast Pop Art Experimental Band,
Radio Birdman,
The Velvet Underground,
Lower 48,
Grandmaster Flash,
Major Organ And The Adding Machine,
Magma,
The J.B.'s,
The Modern Lovers,
Eddi Front,
Wasted Youth,
Ajijia Myrayebe,
Grandmaster Flash and the Furious Five,
The Smiths,
T. Rex,
Scratch Acid,
Gregory Isaacs,
The Count Five,
Judy Mowatt,
The Zeros,
Parry Music,
The United States of America,
Kas Product,
Angels of Light & Akron/Family,
The Selecter,
D'Angelo,
Pole,
Blancmange,
Red Lorry Yellow Lorry,
Dennis Brown,
Wire,
Zapp,
Dorothy Ashby,
Roy Ayers,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.