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 Italy and from Beijing.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Paris 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Robert Görl to the techno 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 Oppenheimer Analysis. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Supertramp,
Eli Mardock,
Siouxsie and the Banshees,
Camouflage,
Vainqueur,
Josef K,
Brand Nubian,
Lee Hazlewood,
Al Stewart,
Cluster,
Soulsonic Force,
Masters at Work,
The Flesh Eaters,
48th St. Collective,
Absolute Body Control,
X-101,
Bang on a Can All-Stars,
Stetsasonic,
Letta Mbulu,
Reagan Youth,
The Mojo Men,
De La Soul & Jungle Brothers,
Outsiders,
Nils Olav,
Gregory Isaacs,
Country Joe & The Fish,
The Techniques,
The Pretty Things,
Electric Prunes,
Ice-T,
Tubeway Army,
ABC,
Man Parrish,
Con Funk Shun,
David Axelrod,
Sarah Menescal,
Funky Four + One,
The Seeds,
Howard Jones,
Quantec,
Bootsy's Rubber Band,
Lalann,
Von Mondo,
Monolake,
Fifty Foot Hose,
Maleditus Sound,
James White and The Blacks,
Lakeside,
Yaz,
Crispy Ambulance,
Pet Shop Boys,
Neil Young,
Stereo Dub,
T.S.O.L.,
The Buckinghams,
Mantronix,
The Vogues,
The Fuzztones,
Schoolly D,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.