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 Costa Rica and from Seoul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school London 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 theremin 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 In Retrospect to the rock kids.
I played it at the Crocodile.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Stetsasonic,
Das Ding,
Scion,
Deutsch Amerikanische Freundschaft,
Magma,
James Chance & The Contortions,
The Leaves,
Intrusion,
Amon Düül,
Henry Cow,
Ohio Players,
Swell Maps,
The Beau Brummels,
Minor Threat,
The Divine Comedy,
Joey Negro,
Eddi Front,
Nirvana,
Parry Music,
Kaleidoscope,
Bobbi Humphrey,
DJ Style,
Massinfluence,
Sex Pistols,
The Pop Group,
X-Ray Spex,
Echospace,
Thee Headcoats,
Jawbox,
Pagans,
Dawn Penn,
Zero Boys,
Kango’s Stein Massive,
New York Dolls,
Los Fastidios,
Althea and Donna,
Lou Reed & John Cale,
the Fania All-Stars,
Larry & the Blue Notes,
the Association,
Unwound,
Wire,
Joy Division,
Severed Heads,
Letta Mbulu,
The Names,
Cymande,
Negative Approach,
The Alarm Clocks,
The Velvet Underground,
Terry Callier,
Masters at Work,
The Smiths,
Camouflage,
Vaughan Mason & Crew,
Archie Shepp,
Justin Hinds & The Dominoes,
Red Lorry Yellow Lorry,
Gastr Del Sol,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.