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 Senegal and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Beijing 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 harpsichord 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 Amon Düül to the punk 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 Graham Central Station. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
the Swans,
Ten City,
Ash Ra Tempel,
Model 500,
Bizarre Inc.,
Bill Near,
Oppenheimer Analysis,
DeepChord presents Echospace,
Soul Sonic Force,
Be Bop Deluxe,
Nick Fraelich,
Wire,
Eric Dolphy,
Judy Mowatt,
Warsaw,
Livin' Joy,
Thee Headcoats,
Jerry Gold Smith,
the Bar-Kays,
Mo-Dettes,
Chrome,
Slick Rick,
Zapp,
Andrew Hill,
Swans,
Suicide,
The Modern Lovers,
Skarface,
Eyeless In Gaza,
Flash Fearless,
Wasted Youth,
Carl Craig,
Agent Orange,
Delta 5,
The Raincoats,
Joe Finger,
Robert Görl,
Bluetip,
Lebanon Hanover,
Infiniti,
Robert Hood,
LL Cool J,
Ultravox,
The Kinks,
Interpol,
The Fall,
Tomorrow,
Unrelated Segments,
Rahsaan Roland Kirk,
Arthur Verocai,
Hardrive,
The Red Krayola,
The Mummies,
Jimmy McGriff,
Gregory Isaacs,
the Fania All-Stars,
Metal Thangz,
Shoche,
The Real Kids,
R.M.O.,
Scott Walker + Sunn O))),
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.