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 Guinea and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Milan and Seoul.
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 1968 at the first Can practice in a loft in Cologne.
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 10cc to the electroclash kids.
I played it at the Crocodile.
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 Chocolate Watch Band. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Shuggie Otis 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer 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 güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Simply Red,
Inner City,
Strawberry Alarm Clock,
Faust,
Subhumans,
Lou Christie,
Siouxsie and the Banshees,
Wasted Youth,
Excepter,
DJ Sneak,
Selector Dub Narcotic,
Pete Rock & C.L. Smooth,
Michelle Simonal,
Angels of Light & Akron/Family,
Jawbox,
Danielle Patucci,
Jeff Lynne,
The Music Machine,
The Last Poets,
Ice-T,
Whodini,
Lower 48,
Susan Cadogan,
Television,
The Divine Comedy,
Jesper Dahlbäck,
Y Pants,
Altered Images,
Laurel Aitken,
The Associates,
Skriet,
The American Breed,
Dark Day,
Swell Maps,
Roxette,
Sandy B,
Lou Reed & John Cale,
Depeche Mode,
Terror Squad Feat. Camron,
Leonard Cohen,
Accadde A,
Nas,
Sonny Sharrock,
Hardrive,
The Residents,
Yazoo,
Barry Ungar,
The Busters,
Sonic Youth,
Marine Girls,
Lee Hazlewood,
a-ha,
Rapeman,
Zapp,
Henry Cow,
Jimmy McGriff,
Crime,
Oppenheimer Analysis,
Sarah Menescal,
Cheater Slicks,
Nik Kershaw,
Iggy Pop,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.