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 Portugal and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 The Alarm Clocks to the crunk kids.
I played it at the Astoria.
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 Brothers Johnson. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The Saints 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
In Retrospect,
Crime,
Larry & the Blue Notes,
Wighnomy Brothers & Robag Wruhme,
Mad Mike,
Alton Ellis,
Radiohead,
Bauhaus,
Jawbox,
Desert Stars,
Crispian St. Peters,
Ice-T,
Radiopuhelimet,
Vainqueur,
Surgeon,
The Litter,
Barrington Levy,
Vaughan Mason & Crew,
Essential Logic,
Terrestrial Tones,
Warsaw,
The Slits,
Basic Channel,
Ludus,
Depeche Mode,
The Monks,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
Kevin Saunderson,
The Smiths,
Soft Cell,
the Swans,
The Doobie Brothers,
Sight & Sound,
Skaos,
Jeru the Damaja,
Q65,
One Last Wish,
Fugazi,
Pagans,
Isaac Hayes,
Archie Shepp,
Gang of Four,
Dual Sessions,
Slave,
Josef K,
Parry Music,
Agitation Free,
Crash Course in Science,
Siglo XX,
Steve Hackett,
the Normal,
The Seeds,
Lee Hazlewood,
The Smoke,
Selector Dub Narcotic,
Monks,
Newcleus,
Anakelly,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.