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 Slovakia and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1975.
I'm losing my edge.
To all the kids in Paris and Manila.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Mandrill to the grunge 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 Das Ding. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron 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 synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Ludus,
Camberwell Now,
Alison Limerick,
Audionom,
Pete Rock & C.L. Smooth,
The Cramps,
The Moody Blues,
Oblivians,
Echospace,
Altered Images,
The Raincoats,
Junior Murvin,
Jerry's Kids,
Andrew Hill,
The Misunderstood,
X-101,
Unrelated Segments,
The Pretty Things,
Minnie Riperton,
AZ,
The Toasters,
Tropical Tobacco,
The Names,
Dark Day,
Niagra,
Justin Hinds & The Dominoes,
Laurel Aitken,
The Black Dice,
Marc Almond,
Jeff Mills,
Grauzone,
Gil Scott-Heron and Jamie xx,
B.T. Express,
Jacques Brel,
Desert Stars,
Crooked Eye,
Vainqueur,
Alphaville,
Underground Resistance,
Prince Buster,
Kaleidoscope,
Ituana,
Wighnomy Brothers & Robag Wruhme,
Teenage Jesus and the Jerks,
Neil Young & Crazy Horse,
Nick Fraelich,
Bobby Byrd,
Vladislav Delay,
Tommy Roe,
Adolescents,
Ken Boothe,
Funky Four + One,
Josef K,
Masters at Work,
Lucky Dragons,
Anakelly,
Jeru the Damaja,
Rites of Spring,
Louis and Bebe Barron,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.