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 Paraguay and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 The New Christs to the electroclash kids.
I played it at Trash.
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 Harpers Bizarre. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
The Angels of Light,
Youth Brigade,
Slick Rick,
Albert Ayler,
The Fall,
Connie Case,
The Doors,
Model 500,
The Victims,
Ken Boothe,
Technova,
Heavy D & The Boyz,
Minnie Riperton,
Dual Sessions,
Q and Not U,
Oblivians,
Laurel Aitken,
Audionom,
Malaria!,
Ajijia Myrayebe,
Mr. Review,
China Crisis,
David Axelrod,
Scan 7,
Johnny Clarke,
Nas,
Khruangbin,
Alton Ellis,
Eden Ahbez,
X-102,
The Names,
Piero Umiliani,
Desert Stars,
The Real Kids,
Marcia Griffiths,
Jimmy McGriff,
Von Mondo,
Stockholm Monsters,
Kango’s Stein Massive,
Radiohead,
New York Dolls,
Symarip,
MDC,
Kurtis Blow,
Basic Channel,
Japan,
E-Dancer,
Schoolly D,
Amon Düül II,
Tropical Tobacco,
Thompson Twins,
Tubeway Army,
Kings Of Tomorrow,
Joey Negro,
LL Cool J,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
Ultravox,
Outsiders,
The Monks,
The Five Americans,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.