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 Ghana and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe 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 Vaughan Mason & Crew to the rock 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 Camberwell Now. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Lalann 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba 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 spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Seeds,
Ituana,
Nils Olav,
Model 500,
Motorama,
Harry Pussy,
The Cowsills,
Kango’s Stein Massive,
Tim Buckley,
Public Image Ltd.,
Man Eating Sloth,
Amon Düül II,
The Five Americans,
Soft Machine,
Dual Sessions,
Masters at Work,
Mad Mike,
Joensuu 1685,
The Cramps,
Pussy Galore,
Davy DMX,
The Fall,
Crime,
Albert Ayler,
Rod Modell,
Gong,
Louis and Bebe Barron,
John Foxx,
Donny Hathaway,
U.S. Maple,
Surgeon,
Kerrie Biddell,
Quando Quango,
Bauhaus,
Nation of Ulysses,
Fort Wilson Riot,
Cluster,
Second Layer,
Blossom Toes,
Colin Newman,
Franke,
Metal Thangz,
Pantaleimon,
The Smiths,
China Crisis,
The Sonics,
Warren Ellis,
Bush Tetras,
Alice Coltrane,
Alphaville,
The Offenders,
Rhythm & Sound,
Popol Vuh,
Echospace,
Notorious BIG live in Amsterdam,
Lower 48,
Funky Four + One,
AZ,
Ken Boothe,
Theoretical Girls,
Kas Product,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.