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 Tokyo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Lyon 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Amon Düül II to the jazz kids.
I played it at the Roxy.
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 Flesh Eaters. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb 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 chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
Iggy Pop,
Ajijia Myrayebe,
ABBA,
Essential Logic,
The Leaves,
The Grass Roots,
48th St. Collective,
Agitation Free,
Nas,
Dr. Dre and Snoop Doggy Dog,
Severed Heads,
The Birthday Party,
Hoover,
Sad Lovers and Giants,
Section 25,
Quando Quango,
Carl Craig,
Fluxion,
Shuggie Otis,
Angels of Light & Akron/Family,
Jeru the Damaja,
The Fuzztones,
Sly & The Family Stone,
The Blues Magoos,
Bauhaus,
Notorious Big And Bone Thugs,
Strawberry Alarm Clock,
Orchestral Manoeuvres in the Dark,
The Selecter,
Pylon,
Black Sheep,
Vainqueur,
Bootsy Collins,
Wally Richardson,
Josef K,
Zero Boys,
Mark Hollis,
Eurythmics,
Blake Baxter,
Jerry's Kids,
Oblivians,
Andrew Ashong & Theo Parrish,
Newcleus,
Lafayette Afro Rock Band,
The Young Rascals,
The Happenings,
Scion,
Gang of Four,
Q and Not U,
The American Breed,
Crispy Ambulance,
Masters at Work,
The Raincoats,
Minutemen,
Deakin, Deakin, Deakin, Deakin.
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.