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 Morocco and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Taipei 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Warsaw to the electroclash kids.
I played it at the Roxy.
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 Mr. Review. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Underground Resistance 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 '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Suburban Knight,
Kerrie Biddell,
The Techniques,
Pulsallama,
Dave Gahan,
The Saints,
Babytalk,
Black Moon,
Laurel Aitken,
Los Fastidios,
The Peanut Butter Conspiracy,
The Moody Blues,
Jacob Miller,
Amon Düül,
Altered Images,
Scientists,
New York Dolls,
Man Eating Sloth,
Aswad,
Hashim,
Moss Icon,
Pussy Galore,
Kings Of Tomorrow,
Harpers Bizarre,
Chris Corsano,
Symarip,
Technova,
Sun Ra Arkestra,
Radiohead,
Bob Dylan,
Joensuu 1685,
Anakelly,
Lalo Schifrin,
Davy DMX,
Brand Nubian,
AZ,
Sandy B,
Popol Vuh,
Oblivians,
Masters at Work,
Second Layer,
Frankie Knuckles,
Crooked Eye,
Q65,
One Last Wish,
Spoonie Gee,
Stiv Bators,
Supertramp,
The Gap Band,
Peter and Kerry,
L. Decosne,
Heaven 17,
Public Image Ltd.,
Underground Resistance,
Bill Wells,
Black Bananas,
Eli Mardock,
Super Lover Cee & Casanova Rud,
Intrusion,
Royal Trux,
Lou Christie,
John Coltrane,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.