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 Micronesia and from Johannesburg.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Vogues to the techno kids.
I played it at the Astoria.
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 Joy Division. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Toni Rubio,
Bootsy Collins,
Masters at Work,
Franke,
Jacob Miller,
Main Source,
Mark Hollis,
Avey Tare's Slasher Flicks,
Mantronix,
Ornette Coleman,
Chris Corsano,
Spandau Ballet,
It's A Beautiful Day,
Dawn Penn,
June of 44,
Adolescents,
Marc Almond,
Suicide,
Graham Central Station,
Nico,
Ultramagnetic MC's,
Junior Murvin,
Bill Near,
Lalann,
Delta 5,
Cluster,
Sunsets and Hearts,
Jeff Mills,
Brass Construction,
These Immortal Souls,
The Toasters,
Minor Threat,
Rapeman,
Terrestrial Tones,
Malaria!,
Gregory Isaacs,
The Sound,
Soulsonic Force,
Excepter,
Gabor Szabo,
Hot Snakes,
Eli Mardock,
Lou Christie,
Supertramp,
Lalo Schifrin,
The West Coast Pop Art Experimental Band,
Ossler,
Marvin Gaye,
Patti Smith,
The Smiths,
Eric Copeland,
Eden Ahbez,
John Holt,
T.S.O.L.,
The Busters,
Liliput,
Crispian St. Peters,
Urselle,
The Cramps,
Porter Ricks,
DJ Sneak,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.