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 El Salvador and from Lille.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Manila 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 Masters at Work 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 The Motions. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin 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 a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Prince Buster,
Letta Mbulu,
Slick Rick,
Nils Olav,
the Soft Cell,
The Young Rascals,
The Birthday Party,
Rowland S Howard / Lydia Lunch,
Rotary Connection,
Terror Squad Feat. Camron,
Harmonia,
Silicon Teens,
Pantaleimon,
Talk Talk,
The Saints,
Colin Newman,
The Royal Family And The Poor,
The Vogues,
Curtis Mayfield,
Gil Scott-Heron & Brian Jackson,
James Chance & The Contortions,
Sandy B,
Amon Düül II,
Marc Almond,
Oppenheimer Analysis,
Bootsy's Rubber Band,
Mary Jane Girls,
La Düsseldorf,
The Neon Judgement,
Neil Young & Crazy Horse,
The Doors,
Q and Not U,
The Smiths,
Zero Boys,
Minutemen,
Unwound,
Circle Jerks,
Symarip,
Morten Harket,
Eyeless In Gaza,
Lucky Dragons,
Index,
Livin' Joy,
Ajijia Myrayebe,
Traffic Nightmare,
Mandrill,
De La Soul & Jungle Brothers,
Susan Cadogan,
The Sound,
Black Moon,
Surgeon,
Dawn Penn,
Von Mondo,
Electric Light Orchestra,
The Velvet Underground,
Los Fastidios,
Moebius,
Grandmaster Flash and the Furious Five,
Desert Stars,
Con Funk Shun,
Half Japanese,
Iggy Pop,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.