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 Bangladesh and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 Susan Cadogan to the jazz kids.
I played it at Cafe Wha.
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 Harpers Bizarre. All the underground hits.
All Gong tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
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,
Interpol,
Richard Hell and the Voidoids,
Skaos,
Ohio Players,
Kango’s Stein Massive,
Sandy B,
Gang Gang Dance,
Jacques Brel,
The Gun Club,
Symarip,
Livin' Joy,
Danielle Patucci,
R.M.O.,
Ice-T,
Quando Quango,
Grandmaster Flash and the Furious Five,
Suburban Knight,
Black Moon,
Pylon,
The Move,
Soft Machine,
Bluetip,
Bobbi Humphrey,
Ronnie Foster,
Sticky Fingaz feat. Raekwon,
Gastr Del Sol,
the Swans,
Agent Orange,
D'Angelo,
Harpers Bizarre,
Oppenheimer Analysis,
Siouxsie and the Banshees,
Girls At Our Best!,
Brick,
Vladislav Delay,
Ken Boothe,
Whodini,
A Certain Ratio,
Talk Talk,
Alice Coltrane,
Terror Squad Feat. Camron,
Idris Muhammad,
Pantaleimon,
Joe Finger,
Black Pus,
Chrome,
Q and Not U,
The Real Kids,
X-102,
Jawbox,
DNA,
Young Marble Giants,
The Birthday Party,
KRS-One,
Amon Düül,
The Royal Family And The Poor,
Sly & The Family Stone,
Harmonia,
Spoonie Gee,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.