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 Korea North and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Madrid 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Lakeside to the grime kids.
I played it at Trash.
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 Heavy D & The Boyz. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The Selecter,
Chris & Cosey,
Ohio Players,
Boogie Down Productions,
a-ha,
Lou Christie,
Avey Tare,
Jesper Dahlbäck,
Yazoo,
The Blues Magoos,
Henry Cow,
The Men They Couldn't Hang,
Davy DMX,
Maleditus Sound,
Lizzy Mercier Descloux,
New Age Steppers,
Mark Hollis,
Barrington Levy,
Gong,
Dorothy Ashby,
Lebanon Hanover,
The Smoke,
Section 25,
Shoche,
Oblivians,
Laurel Aitken,
Massinfluence,
Ponytail,
The Divine Comedy,
The Grass Roots,
Mr. Review,
Bob Dylan,
Sunsets and Hearts,
The Chocolate Watch Band,
The West Coast Pop Art Experimental Band,
Gil Scott Heron,
Iggy Pop,
Los Fastidios,
The Mojo Men,
Deadbeat,
Jacob Miller,
The Knickerbockers,
The Slackers,
Lalo Schifrin,
Röyhkä ja Rättö ja Lehtisalo,
kango's stein massive,
Thompson Twins,
Radio Birdman,
The Cowsills,
The Sisters of Mercy,
Y Pants,
Marc Almond,
Andrew Hill,
Bootsy's Rubber Band,
The Leaves,
H. Thieme,
Absolute Body Control,
Lou Reed & Metallica,
Pulsallama,
The Litter,
Angels of Light & Akron/Family,
Joe Smooth,
The Smiths,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.