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 Mauritius and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Beijing.
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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Davy DMX to the crunk kids.
I played it at the 40 Watt.
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 Andrew Hill. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer 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?
Orchestral Manoeuvres in the Dark,
Jesper Dahlbäck,
Ronnie Foster,
Lee Hazlewood,
Howard Jones,
Desert Stars,
Wings,
Silicon Teens,
Tears for Fears,
Zero Boys,
The New Christs,
Slave,
Toni Rubio,
Public Image Ltd.,
Hasil Adkins,
Gil Scott-Heron & Brian Jackson,
The Monochrome Set,
Con Funk Shun,
Fugazi,
Trumans Water,
Harmonia,
Zapp,
Peter & Gordon,
Boredoms,
Ohio Players,
Thee Headcoats,
Gang of Four,
Thompson Twins,
Cabaret Voltaire,
Arthur Verocai,
The Martian,
Little Man,
Joe Smooth,
Hardrive,
John Lydon,
Brass Construction,
The Kinks,
Yusef Lateef,
Alison Limerick,
Ronan,
Duran Duran,
Technova,
Robert Hood,
Soulsonic Force,
Dennis Brown,
EPMD,
Terry Callier,
Ultra Naté,
Louis and Bebe Barron,
Glenn Branca,
Joyce Sims,
R.M.O.,
Underground Resistance,
Funkadelic,
Cecil Taylor,
Bang On A Can,
Newcleus,
Pantaleimon,
Gang Green,
Prince Buster,
Crash Course in Science,
Isaac Hayes,
Man Eating Sloth,
Radiohead, Radiohead, Radiohead, Radiohead.
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.