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 Zimbabwe and from London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Tehran 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 The Doors to the rock kids.
I played it at the Spitz.
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 Fugs. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Albert Ayler,
Eric Copeland,
Unwound,
Oppenheimer Analysis,
Pagans,
The Mighty Diamonds,
Country Joe & The Fish,
The Fall,
Country Teasers,
FM Einheit,
The Dead C,
Cymande,
Soul II Soul,
Masters at Work,
the Swans,
Toni Rubio,
Pierre Henry,
Derrick Morgan,
Shoche,
The Seeds,
Kevin Saunderson,
Robert Görl,
Be Bop Deluxe,
Cluster,
Roger Hodgson,
Excepter,
The Smiths,
London Community Gospel Choir,
Ken Boothe,
Audionom,
Brick,
New Order,
Zero Boys,
Johnny Osbourne,
D'Angelo,
De La Soul & Jungle Brothers,
The Black Dice,
Nils Olav,
Althea and Donna,
Traffic Nightmare,
Nick Fraelich,
Faraquet,
Carl Craig,
Spandau Ballet,
The Durutti Column,
Jawbox,
Bill Near,
Black Pus,
John Holt,
DJ Style,
Roxy Music,
Rod Modell,
Angels of Light & Akron/Family,
Rosa Yemen,
Porter Ricks,
Monks,
The Toasters,
Sam Rivers,
Radiohead,
Suicide, Suicide, Suicide, Suicide.
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.