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 Germany and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Edmonton 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Radiopuhelimet to the punk kids.
I played it at the Troubador.
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 Radiopuhelimet. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Panda Bear 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 '60s 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 The Vogues record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Gregory Isaacs,
The Black Dice,
China Crisis,
Oppenheimer Analysis,
Harpers Bizarre,
The Young Rascals,
A Flock of Seagulls,
Rhythim Is Rhythim,
Sam Rivers,
The Divine Comedy,
The Shadows of Knight,
Lee Hazlewood,
Teenage Jesus and the Jerks,
Flipper,
De La Soul & Jungle Brothers,
Crime,
James Chance & The Contortions,
The Gladiators,
Black Flag,
Kenny Larkin,
Sonic Youth,
Mr. Review,
Richard Hell and the Voidoids,
Tres Demented,
The Golliwogs,
Freddie Wadling,
Au Pairs,
Hardrive,
The Grass Roots,
Slave,
Derrick Morgan,
Index,
Major Organ And The Adding Machine,
Pere Ubu,
Yazoo,
Alice Coltrane,
ABC,
David McCallum,
Aural Exciters,
Schoolly D,
Be Bop Deluxe,
Jerry Gold Smith,
The Move,
B.T. Express,
Susan Cadogan,
Q65,
Howard Jones,
Country Teasers,
Marc Almond,
The Monks,
D'Angelo,
Massinfluence,
The Associates,
Yusef Lateef,
Dark Day,
The Real Kids,
The Cosmic Jokers,
Rufus Thomas,
It's A Beautiful Day,
John Coltrane,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.