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 United Kingdom and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Sao Paulo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Fatback Band to the crunk kids.
I played it at the Troubador.
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 ABC. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Scientists 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron 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 synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Camouflage,
Cecil Taylor,
John Coltrane,
Skriet,
The Cowsills,
Groovy Waters,
Aural Exciters,
The Walker Brothers,
The Residents,
Red Lorry Yellow Lorry,
Zero Boys,
Steve Hackett,
Maurizio,
Eric B and Rakim,
Pulsallama,
Crispy Ambulance,
Althea and Donna,
Peter Gordon & Love of Life Orchestra,
Amon Düül,
Theoretical Girls,
Connie Case,
Drexciya,
Gil Scott Heron,
The Divine Comedy,
Aswad,
10cc,
Brass Construction,
The Monochrome Set,
Ludus,
John Holt,
T.S.O.L.,
Schoolly D,
Girls At Our Best!,
Alice Coltrane,
Larry & the Blue Notes,
Selector Dub Narcotic,
The Doors,
The Moleskins,
Sparks,
James Chance & The Contortions,
Bobbi Humphrey,
Gang Starr,
Goldenarms,
The Move,
Cabaret Voltaire,
Bauhaus,
Cluster,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
Röyhkä ja Rättö ja Lehtisalo,
Kas Product,
Junior Murvin,
Kaleidoscope,
Whodini,
Dawn Penn,
Con Funk Shun,
Colin Newman,
The Sisters of Mercy,
Wire,
the Association,
Robert Hood,
Super Lover Cee & Casanova Rud,
the Germs, the Germs, the Germs, the Germs.
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.