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 Rwanda and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Eli Mardock to the disco 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 Remains. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Matthew Halsall 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
New Order,
The Durutti Column,
Selector Dub Narcotic,
Magazine,
The Cowsills,
Tres Demented,
Jimmy McGriff,
Barry Ungar,
John Coltrane,
Bauhaus,
Shoche,
The Monochrome Set,
Qualms,
Isaac Hayes,
Rufus Thomas,
Joensuu 1685,
Hoover,
B.T. Express,
Liaisons Dangereuses,
Bobby Sherman,
Bronski Beat,
Eddi Front,
The Moleskins,
Zapp,
Japan,
Pulsallama,
Bobby Hutcherson,
Outsiders,
Justin Hinds & The Dominoes,
Major Organ And The Adding Machine,
Kool Moe Dee,
David Bowie,
Stereo Dub,
Technova,
The Leaves,
Parry Music,
Q and Not U,
Pagans,
Kings Of Tomorrow,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The United States of America,
John Holt,
Magma,
Porter Ricks,
The Doors,
The Seeds,
In Retrospect,
Fluxion,
Index,
8 Eyed Spy,
June Days,
The Evens,
The Gladiators,
Man Eating Sloth,
Lower 48,
H. Thieme,
Marc Almond,
Avey Tare,
Eve St. Jones,
Orchestral Manoeuvres in the Dark,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.