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 Solomon Islands and from Stockholm.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Spokane 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 linndrum 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 Popol Vuh to the electroclash kids.
I played it at the 40 Watt.
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 Roxette. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Dirtbombs,
Fugazi,
Stockholm Monsters,
Erasure,
Nico,
Isaac Hayes,
Eurythmics,
LL Cool J,
Ohio Players,
KRS-One,
Clear Light,
CMW,
JFA,
Ten City,
Pole,
Warsaw,
Pulsallama,
Glambeats Corp.,
Johnny Osbourne,
Whodini,
Jacques Brel,
World's Most,
Rufus Thomas,
The Standells,
Sexual Harrassment,
Quantec,
Joe Finger,
Technova,
the Bar-Kays,
Circle Jerks,
Monolake,
Lizzy Mercier Descloux,
Blake Baxter,
Deadbeat,
Pet Shop Boys,
Terry Callier,
Malaria!,
Deepchord,
Masters at Work,
Vaughan Mason & Crew,
Section 25,
Nation of Ulysses,
Japan,
The Fortunes,
Mars,
Judy Mowatt,
Moby Grape,
Electric Prunes,
Skriet,
Strawberry Alarm Clock,
Audionom,
The Chocolate Watch Band,
The Trojans,
The Last Poets,
Sixth Finger,
Black Moon,
Scion,
Kaleidoscope,
Mission of Burma,
Josef K,
Subhumans,
The Zeros, The Zeros, The Zeros, The Zeros.
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.