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 Kosovo and from Lille.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when David Bowie 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 X-102 to the crunk kids.
I played it at the Hacienda.
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 10cc. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a rhodes 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 synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Fall,
Black Sheep,
The Fugs,
It's A Beautiful Day,
Stockholm Monsters,
Dawn Penn,
Sonny Sharrock,
Urselle,
Bluetip,
Idris Muhammad,
The Pretty Things,
the Germs,
The American Breed,
Section 25,
Tears for Fears,
Marc Almond,
Strawberry Alarm Clock,
Pole,
Avey Tare's Slasher Flicks,
Gong,
Nation of Ulysses,
the Association,
The Cure,
The Detroit Cobras,
Model 500,
Connie Case,
David McCallum,
The Jesus and Mary Chain,
Pagans,
The Royal Family And The Poor,
Joey Negro,
Eden Ahbez,
Popol Vuh,
The Raincoats,
Eurythmics,
Robert Görl,
Porter Ricks,
Minor Threat,
John Lydon,
The Red Krayola,
FM Einheit,
OOIOO,
The Golliwogs,
Bauhaus,
The Electric Prunes,
Blake Baxter,
Sarah Menescal,
Todd Terry,
Juan Atkins,
Tropical Tobacco,
Average White Band,
The Dave Clark Five,
the Swans,
The Remains,
Dual Sessions,
X-Ray Spex,
Black Bananas,
John Cale,
Delon & Dalcan,
Television, Television, Television, Television.
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.