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 Mauritania and from Copenhagen.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Porter Ricks to the rock kids.
I played it at the Hacienda.
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 Y Pants. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal disco 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Cowsills,
Josef K,
Tom Boy,
The Trojans,
Ice-T,
10cc,
The Chocolate Watch Band,
Public Image Ltd.,
Deakin,
The Slackers,
The Wake,
Robert Görl,
Liaisons Dangereuses,
Notorious BIG live in Amsterdam,
De La Soul & Jungle Brothers,
The Busters,
Ultimate Spinach,
Half Japanese,
Marc Romboy vs. Booka Shade,
Anakelly,
One Last Wish,
Reuben Wilson,
Morten Harket,
Cluster,
Godley & Creme,
The Vogues,
Deadbeat,
The United States of America,
Q and Not U,
Dave Gahan,
D'Angelo,
The Count Five,
Siglo XX,
Avey Tare & Kría Brekkan,
Gil Scott-Heron & Brian Jackson,
Sonic Youth,
The Sonics,
Television Personalities,
The Music Machine,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
48th St. Collective,
Brand Nubian,
Magazine,
The Pop Group,
KRS-One,
Shoche,
New Order,
Jeff Lynne,
Girls At Our Best!,
Susan Cadogan,
Drive Like Jehu,
Banda Bassotti,
Man Eating Sloth,
Jerry Gold Smith,
The Walker Brothers,
Cabaret Voltaire,
Clear Light,
Average White Band,
The Remains,
T. Rex,
Teenage Jesus and the Jerks,
World's Most, World's Most, World's Most, World's Most.
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.