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 Uruguay and from Johannesburg.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Names to the jazz kids.
I played it at the Spitz.
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 The Standells. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Rufus Thomas 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 '80s.
I hear you're buying an arpeggiator and a harpsichord 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Harpers Bizarre,
Mars,
a-ha,
Ice-T,
Rowland S Howard / Lydia Lunch,
Cluster,
Flash Fearless,
The Dave Clark Five,
Notorious BIG live in Amsterdam,
Lee Hazlewood,
Aaron Thompson,
Ten City,
Nick Cave & The Bad Seeds,
Tim Buckley,
The Real Kids,
Wighnomy Brothers & Robag Wruhme,
Das Ding,
E-Dancer,
Intrusion,
Deadbeat,
Fugazi,
Sly & The Family Stone,
Ultramagnetic MC's,
Boogie Down Productions,
Oblivians,
Section 25,
The Detroit Cobras,
Be Bop Deluxe,
Talk Talk,
Cameo,
Electric Light Orchestra,
Bauhaus,
The Slits,
Quadrant,
Anakelly,
Guru Guru,
Essential Logic,
Subhumans,
Barrington Levy,
Silicon Teens,
Boz Scaggs,
Masters at Work,
Jerry Gold Smith,
Qualms,
Kerri Chandler,
Jeff Mills,
Metal Thangz,
Roy Ayers,
Godley & Creme,
Scott Walker + Sunn O))),
Bobby Byrd,
Ponytail,
Blossom Toes,
Rhythm & Sound,
The Gap Band,
Loose Ends,
Eve St. Jones,
UT,
Ultra Naté,
Ludus,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.