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 Trinidad & Tobago and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Minutemen to the funk 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 Aaron Thompson. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe 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 an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Stockholm Monsters,
The Index,
Pagans,
Soulsonic Force,
Richard Hell and the Voidoids,
Shoche,
ABC,
Mantronix,
The Modern Lovers,
Dark Day,
Kayak,
Cameo,
Deadbeat,
JFA,
Idris Muhammad,
Patti Smith,
the Sonics,
Letta Mbulu,
The Black Dice,
Heaven 17,
Super Lover Cee & Casanova Rud,
The Electric Prunes,
Black Moon,
Spoonie Gee,
Tommy Roe,
Iggy Pop,
Dual Sessions,
Boredoms,
Radiopuhelimet,
The Chocolate Watch Band,
The Leaves,
Quantec,
London Community Gospel Choir,
Sugar Minott,
The Walker Brothers,
Man Eating Sloth,
Nick Fraelich,
The Dirtbombs,
Jeff Lynne,
Can,
Bobby Hutcherson,
X-102,
Heavy D & The Boyz,
Marine Girls,
Rod Modell,
The Kinks,
Lizzy Mercier Descloux,
Flipper,
Lou Reed & John Cale,
Robert Hood,
Piero Umiliani,
Massinfluence,
Aaron Thompson,
Dawn Penn,
Cabaret Voltaire,
Soft Machine,
Schoolly D,
New Order,
Derrick Morgan,
Deutsch Amerikanische Freundschaft,
Index,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.